Tag Archives: Photojournalism

My journey as a witness on National Geographic website

by Shahidul Alam Posted on November 27, 2011

Subscribe to ShahidulNews National Geographic Events Shahidul Alam – My Journey as a Witness My Journey as a Witness Shahidul Alam Beautifully illustrated, My Journey as a Witness, is the first publication of over two decades of Shahidul Alam’s photography. This inspiring … Continue reading →

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My Journey as a Witness

by Shahidul Alam Posted on June 27, 2011

Subscribe to ShahidulNews BUY THIS BOOK Local store |  Online store Shahidul Alam: My Journey as a Witness Edited by Rosa Maria Falvo Pub Date: September 23, 2011 Format: Hardcover Category: Photography – Individual Photographer Publisher: Skira Trim Size: 9-1/2 x … Continue reading →

Posted in Bangladesh, Drik and its initiatives, My Photo Essays, Pathshala, Photography, Photojournalism, Shahidul Alam, South Asia, Southern Exposure | Tagged , , , , , , , , , , | 17 Comments

Bangladesh double in World Press Photo

by Shahidul Alam Posted on February 20, 2011

Subscribe to ShahidulNews While Bangladesh might be the minnows in test cricket. In the field of photography, Bangladesh has carved a space for itself. Former students of the prestigious Joop Swart Masterclass, GMB Akash, Andrew Biraj, Munem Wasif and Saiful … Continue reading →

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快門下的社會行動─從夏伊都爾‧阿蘭姆的第三世界影像社會改革談起

by Shahidul Alam Posted on December 11, 2010

Subscribe to ShahidulNews chrisliu — 週六, 2010-12-11 20:45 翻開孟加拉攝影家夏伊都爾‧阿蘭姆（Shahidul Alam）的攝影集，一個屋頂上的老婦姿態凝重地在煮食；一個眼神憂傷的小女孩裹在斗篷裡；一群羊在山腳下散落成了綿白起伏的溫柔堆塊。他的視覺語言張力十足，他的天際總是開闊而詭譎得令人目眩，牆邊幽深的黑影總是充滿壓迫感。阿蘭姆是世界新聞攝影獎首位非白人的評審，但他並不是那種到世界各地擷取故事的攝影家──他在孟加拉深耕，影像多著眼於貧窮、災難、國家民主化進程中被錯待的人們，他和他所設立的Drik影像資料庫及南亞影像學院（Pathshala）長年致力於以攝影改善孟加拉的社會，將相機連同說故事的主權直接交給貧窮的婦女與孩童，他舉辦的Chobi Mela攝影節更匯集各國攝影者一同到孟加拉進行攝影的討論與創作。 從倫敦大學化學博士走到當代第三世界最具代表性的影像社會改革者，阿蘭姆說，他是個徹底的political animal，即使帶他走上攝影這條路的直接原因是陰錯陽差的留下了他代友人購買的相機，他真正的走這條路的理由是為了落實他對社會議題的關懷，而攝影作為一種表達媒介的可及性最高，所有人都能運用。阿蘭姆說：「一個讓我投身的原因是我必須去找出『人們如何表述』。我發現攝影是個便於溝通的媒介，它常用並且不易受誤解，許多人無法讀寫文字，富裕的、受教育的人們可以透過文字去傳遞訊息、辯證問題，但更多人需要簡單直接的方式理解和表達。這是我為何開始建立影像的組織，很多孩子和婦女在文字語言系統中不能成為說故事的主體，但透過影像則可以。」 More at:

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Prix Pictet Jury

by Shahidul Alam Posted on July 11, 2010

Subscribe to ShahidulNews The Prix Pictet, the world’s leading prize in photography and sustainability. will judged by an internationally recognised panel of experts led by Professor Sir David King, Director of the Smith School of Enterprise and Environment at the University of … Continue reading →

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Studying Life

by Shahidul Alam Posted on February 1, 2008

10th year of Pathshala Video on Pathshala by Brian Palmer. Commissioned by Pullitzer Foundation: Boli. Goat being sacrificed at Hindu religious ceremony. © Saikat Mojumder. Rashid Talukder had been unwell and had excused himself. The other board members Afzal Chowdhury, … Continue reading →

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I hear the screams

by Shahidul Alam Posted on August 11, 2006

Even after years of playing Pied Piper with a camera, I am still taken aback by children insisting on being photographed. It was September 1988, and we had had the worst floods in a century. These people at Gaforgaon hadn’t … Continue reading →

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Imaging Famine and other events

by Shahidul Alam Posted on September 5, 2005

Born Aid 20. The Commission on Africa. Live 8. Make Poverty History. The G8 Summit in Gleneagles. We are witnessing renewed debate about global poverty, disasters and development, especially in Africa. Coming two decades after the Ethiopian famine of the … Continue reading →

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World Press Photo In Dhaka: Behind The Scenes

by Shahidul Alam Posted on January 19, 2004

With hundreds of people seeing the show every day, and excellent media coverage, it might appear as if the staging of WPP photo in Bangladesh was a smooth well organised affair. As Marc will testify, the reality was very different. … Continue reading →

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Victory’s Aftertaste

by Shahidul Alam Posted on December 20, 2003

Subscribe to ShahidulNews Rashid Talukder’s photo of the dismembered head in Rayerbazar (http://www.drik.net/calendar96/), or the Pullitzer winning image by Michel Laurent and Horst Faas, of the bayoneting of Razakars have been used to represent Bangladesh’s war of liberation. Kishor Parekh … Continue reading →

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