India - Delhi - A homeless cycle rickshaw driver dresses at a parking lot next to the Yamuna River where he sleeps

I’m delighted to say that this image has just been chosen as one of Action Aid’s images of the Year. The full set is here.

The work here is from an ongoing piece about Delhi and it’s people – where some 100000 people just happen to be homeless. I’m always cautious these days about doing another story about the homeless – you know the nameless victims staring up at the camera but  the sheer scale of Delhi’s problem is so significant, so enormous it became inevitable. The work was an assignment from ActionAid (thanks to Laurence who believed in my proposal) and was made through the invaluable assistance of Aashray Adhikar Abhiyan from whom I must thank the wonderful Paramjeet Kaur and Prakash, my invaluable guide and I hope now, friend. I tried very hard to make work that showed people as individuals coping in very difficult circumstances but one that is surprisingly easy to fall into. Normal, ordinary people in difficult situations. These are just three of my current favourite images – you can see a larger set via my archive or the Panos site.

India - New Delhi - Patti Das and his child Khrisha on a piece of waste ground beneath a flyover near Okhla station. New Delhi, India.

India - New Delhi - A mother picks at her child's hair for fleas as a train passes behind them on a piece of waste ground where they live beneath a flyover near Okhla station. New Delhi, India

India - New Delhi - A homeless mother, hugged by her small child, cooks breakfast by the railway tracks where her family live. Okhla, New Delhi, India

According to General Stanley McChrystal, America’s war in Afghanistan began with a “frighteningly simplistic” view of the country.

An illegal, arrogant, NeoCon invasion was premised on a basic misunderstanding?

No shit…

As our colonial masters in the White House might say.

Afghanistan - Kabul - A woman begs on the street

This is the view of the house opposite. A view into other lives, other rooms.

India - New Delhi - Men construct a new house room by room

I must admit I was a little surprised to be included in such a blog that prides itself on showcasing ‘the new breed of documentary photographers’ as I seem (or feel) like I have already been around the block more than once, but no matter. Geoffrey Hiller was utterly charming and I was very pleased that he chose an image from a series that showcases work that isn’t necessarily dark and serious.

Many thanks to Geoffrey and I reproduce the short interview below.

“The story was on Capoeira, the martial art/dance once the (banned) preserve of African slaves, now a national symbol of Brazil. It was shot on assignment for a car magazine – Lexus – with whom I’ve photographed and written travel pieces on and off for nearly a decade. My fixer had arranged for five models – all expert Capoeiristas, and the idea was that in addition to photographing some Capoeira classes in the city, we’d make the main images on Copacabana and Leblon beaches. I remember it rained for a couple of days so I had to shoot the beach twice before I was happy. Initially I shot with two portable strobes but that felt too ‘fashioney’ so I went back to a much simpler set-up – shooting at dusk with available light and couple of fixed lenses: a much more traditional reportage feel. I’d worked in Brazil only once before in 1999 as part of a five country reportage about the Politics of Hunger. I’d shot a piece with the Landless Peasant’s Union (the MST) on squatted land in the far north: the Capoeira story was far removed from that and some of the images have formed the basis of a lifestyle folio that sees me work on ‘lighter’ stories away from pieces in Africa and Asia that I am perhaps more known for. A good balance, I think.”

Mauritania - Chinguetti - A sad woman in a house in Chinguetti.

I remember photographing this woman in a house and her looking terribly forlorn, distant and sad. I never could find out why. My notebook tells me that I was with her and her husband for only ten minutes. Sometimes, perhaps its better not to know…

I must say that the Norwegians were for their age, exceptional visual journalists and it was a lesson for me to see them produce their assignments with an energy and proficiency that would put many established UK professionals to shame. I think to a person their level of visual literacy was far higher than I was expecting. The Bangladeshi’s, some a product of the Pathshala Institute and some having just completed a basic photography course struggled a little with the idea of storytelling – the theme of the workshop. That said, their determination and enthusiasm was a pleasure to witness. I felt by the end that the concept of a photo-essay was firmly entrenched. As a matter of fact, despite some rather cliched ideas of what a documentary project could look like, it was a two Bangladeshi students – both women I should add – that produced ideas for their course projects that impressed me most. Both decided to work on the personal sphere. In an industry dominated by men and seemingly endless stories of poverty and darkness it was a welcome change.

It was also my first visit to Bangladesh – a pleasant journey from the cold English winter and Chittagong and it’s people in particular I have to thank for being so welcoming and open. I’m now due to come back in the summer to shoot a story. I’m looking forward to it already.

Delhi waits for me now – a flight from Dhaka and then almost a month in India. I have a corporate assignment there and then two stories that I need to work on.

As usual I shall be on:

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It just remains for me to say thank you in particular to Abir, Shoeb and his wife (what a lovely meal), Joseph Rozario (a marvel), Ashraf (for all his patience with me), Shadab (for his kindness) and to the students – firstly for their beautiful and unexpected gifts (you know who you are…) and secondly for their patience and unwavering attention even when I’m sure I was talking rubbish… you all touched me deeply. I hope we stay in touch. Thank you.

For now I leave you with some images from the workshop and one of a couple of frames that I had time to make myself in Chittagong.

Bangladesh - Chittagong - Abir Abdullah talking to students (and myself) during the workshop

Bangladesh - Chittagong - Stuart Freedman works with Maria on her project ©Adnan Wahid

Bangladesh - Chittagong - Abir, Stuart and Shoeb address the class ©Adnam Wahid

Bangladesh - Chittagong - Stuart Freedman addresses the class ©Marius Knutsen

Bangladesh - Chittagong - A man dismantles a boat with a blow torch and hammer on the banks of the Karnaphuli River beneath the Kalurghat Bridge, Chittagong, Bangladesh

I seem to have lots of pictures of people dancing and partying across the world but when I thought about it, one image of hope and joy seemed to stick in my mind. The image below show a mother reunited with her son who had been kidnapped and forced to fight for Joseph Kony’s Lords Resistance Army in Northern Uganda. He’d been in the bush for a couple of years as I remember and I was present in an airless, dusty hut when he was delivered home by the Ugandan Army. His mother, completely surprised by her son’s miraculous appearance (she thought him dead) was overcome with joy and started to pray just after I took this image. I’ve often wondered what happened to him.

Happy New Year.

Peace.

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