Leila Alaoui | Les Marocains

Photo © Leila Alaoui-All Rights Reserved

I recall featuring the portraits of Moroccans by Leila Alaoui in a 2011 post, and was very glad to see them again featured in Slate's Behold (its photo blog) with the title of Capturing The Stunning Faces of Morocco.

Morocco is, in my estimation, one of the most difficult countries in which to photograph people. Ms. Allaoui agrees with that, saying that Moroccans are especially apprehensive about being photographed due to their belief in witchcraft, the evil eye and as an Islamic country, espouse a belief that image-making is a direct contravention of Islamic tradition.

However, she persevered and went on about 20 road trips across the country in the last few years, traveling through the Atlas Mountains, the Rif Mountains, the Sahara, and a variety of coastal and inland regions of Morocco including Essaouira, Tangier, and Marrakech. She would set up a portable studio in public places, markets, and other private gatherings after spending a few days getting to know the locals. Eventually, some people would agree to pose and be photographed by her.

Leila Alaoui is a French-Moroccan multimedia artist working on cultural diversity, identity and migration using video installations, studio and documentary photography. After studying film and photography in New York, she moved back to Morocco in 2008. Her work has been exhibited internationally since 2009 and has been published in newspapers and magazines, including in The New York Times. She now lives and works between Marrakech and Beirut.

POV: The Pehlwani | The Kushti Wrestlers

Photo © Tewfic El-Sawy-All Rights Reserved

Photo © Tewfic El-Sawy-All Rights Reserved

One of the scheduled photo shoots during my recent The Sacred Cities: Varanasi & Vrindavan Photo Expedition-Workshop was at an akhara, which is a Sanskrit word meaning training area for traditional Indian wrestlers, known as pehlwanis. This traditional Indian wrestling is known as kushti, and was developed in the Mughal era by combining native wrestling and Persian techniques.

These two pehlwanis were the most photogenic of the group that was training when we visited early in the morning. The wrestler in the top photographer is yielding a nada,  a heavy round stone attached to the end of a meter-long bamboo stick. This training implement is associated with Hanuman.

The bottom wrestler is using heavy Indian clubs, exercise clubs introduced by the Mughals and originally used in the Near East, especially in Persia and Egypt.

I wasn't thrilled about the quality of light in the akhara, as the area combined extreme harsh sunlight and deep shadows....and most of the background was of unfinished concrete walls. A difficult photo shoot. However, the wrestlers largely compensated for this, especially when they had daubed themselves with soft clay

For some of the wrestlers, the day starts as early as 4 am and their practice lasts into the day. Technically there's no age limit, but some wrestlers can begin their training when they're as young as four years old. To protect themselves from wound infections,  the wrestlers add lime, oil, milk, ghee, camphor, neem leaves, butter milk, and turmeric to the clay on which they practice daily.

Going Minimalist | Guatemala Foundry Photojournalism Workshop

In just over a week, I'll be traveling to La Antigua in Guatemala to join the rest of the faculty of the Foundry Photojournalism Workshop.

Since I'll be spending most of the week-long workshop teaching the fundamentals of multimedia, I won't have much time to work on any personal projects, so will probably only do some street photography.

It'll be an opportunity (and a joy) to leave behind the heavy DSLRs, and travel with a minimalist gear which, as shown in the above photograph, may consist of a Fuji X Pro-1 with a Fujinon 18mm and a Zeiss Touit 12mm, a Leica M9 with an Elmarit 28mm and a Voigtlander Nokton 40mm f1.4 as well. And just in case I need to record some audio, I'll pack a Marantz PMD 620, much smaller than my Tascam DR-40 that I use on my photo expeditions.

In the last Foundry Photojournalism I attended (Chiang Mai), I relied on these two "rangefinders", and it was a relief to be carrying one or even two of these comparative light tools instead of my two Canon DSLRs.

It's not my first time to Guatemala or La Antigua. I was there some years ago during its famous Semana Santa. Some of my photographs are on Las Tierras de Popol Vuh.

For those who don't know, The Foundry's goal is to help emerging photojournalists and documentary photographers to hone their skills, to have a chance to work with some of the world’s best shooters in the field, on real reportage projects, to create multimedia, to see some of the best work being done today, to collaborate, to make contact, plan future projects, develop your own vision and leave the workshop energized, and more committed then ever to concerned photography, storytelling and to documenting the world through the lens.

CGAP Photo Contest 2014

Photo © Tran Dinh Thuong-All Rights Reserved

I started to frequently peruse Hanoi Times online to find tidbits of information for my forthcoming personal project in Vietnam, and noticed that it reported that seven Vietnamese photographers had won won prizes and/or recognition in a photography contest organised by a World Bank affiliate.

The CGAP (Consultative Group to Assist the Poor) is affiliated to the World Bank, and its annual photo contest seeks "to showcase the different ways in which poor households manage their financial lives and to raise awareness about the importance of formal financial services for people at the base of the economic pyramid."

I never heard of CGAP - and whilst readers of this blog know my stance towards photo contests- I took a look at its results, and found that many of its entries are impressive. This year's contest received a record 4,820 entries from professional and amateur photographers in 95 countries.

I urge you to take a look at the results of the photo contest here. Not only are these photographs impressive in their own rights, but they're from largely unknown (at least to me) photographers...and what a delight this is. Fresh names, fresh work...and none of the usual suspects who regularly  participate in such photography contests.

CGAP also featured all of the entries (yes, 4818 of them) with the names of the photographers on this page. Most of the entries are environmental portraits...some more travel photographs than documentary, but the general quality is really quite commendable.

So happy browsing, and be prepared to be impressed.

Diana Mayfield | Hà Nội Noir

During the just completed The People of Tay Bac Photo Expedition-Workshop, I gave its participants
the assignment of photographing the bustling street life of old Ha Noi, shooting from the hip, or on the fly, as much as possible to capture fleeting expressions, and the ever changing scenes of this exciting city.

The assignment also included of converting the resulting photographs to monochromes (hence the name Ha Noi Noir), and to produce a short photo-film with ambient sound recorded during their many walks in the streets and alleys.

This is Diana Mayfield's project, which mixes interesting snippets of street life...some humorous and some realistic. Ha Noi's street life centers on eating, busy traffic and small shops. One finds all of these in this short movie.

Diana Mayfield has a pedigree in travel photography that spans more than 20 years, and is one of the  original photographers contracted to Lonely Planet Images in 1998. Her photographs are widely published in books, magazines, brochures, advertisements, newspapers, web, etc. Her buyers include Qantas, Air France, Thomas Cook, National Geographic, Diners Club, Sunday Times, The New York Times, Le Monde, Rand McNally, Macmillan Educational and others.

She's represented by Getty Images, and has led photo tours to Italy, Greece and Spain for 8 years. She's now concentrating her cameras on S.E. Asia and India, with a particular interest in remote tribes and marginalised societies.

Eugeni Gay Marin | Vietnam

Photo © Eugeni Gay Marin- All Rights Reserved

I just love this gem of a photograph. The melancholic expression of both the musician and his muse (?) are so expressive that I can construct so many stories by just looking at this photograph for a few seconds....and that's what storytelling is all about. Is it a story of unrequited love? Is she remembering an old flame? The musician's overly dyed and carefully coifed hair tells me he could be a washed-up performer, now playing his instrument in cheap joints...still clinging to his youth.

To my mind, this is a Vietnamese fado scene;  the Portuguese music genre characterized by mournful tunes and lyrics.

Eugeni Gay Marin's Vietnam gallery has a few more of his photographs in this lovely country, but unfortunately too few.

However, his photographic project of documenting Punjabi Sikhs is also very interesting, and I've enjoyed viewing it, especially as I haven't had the opportunity of visiting Amritsar or Harmandir Sahib (the Golden Temple) yet.

Eugeni Gay Marín is a Spanish photographer whose images were published in various media such as El País Semanal and Lonely Planet. He participated in two collective books and has been selected to show his work in several festivals. He co-founded El Observatrio project, specialized in monitoring photographic student work and in 2014 he began Fotoholica, a digital retouching company for photographers. In 2014 he won the photography FNAC New Talent in Spain for the work “From Quantum Island”. This project was exposed in the Voices Off festival in Arles and won the “Le prix Révèlation SAIF 2014”.

John Rowe | The Donga

Photo © John Rowe-All Rights Reserved

For a complete change of pace, here's an Ethiopian feature.

The Donga  (also called Saginay) is the stick-fight practiced by the Suri, a tribe in the Omo Valley. The Suri  adopt stick fighting - which is a traditional way for young men to impress girls. The often bloody fight is a demonstration of bravery, and underscores the men's desire to become cattle warriors.

Generally, stick fighting is practiced so young men can find wives. The ideal time to stick fight is just after it rains, and involves various Suri villages. With 20 to 30 people on each side, the stick fights can be extremely dangerous despite having referees to make sure that rules are followed. It's said that the fights have recently led to fights with guns, in which people have been wounded.

Sometimes when a young man has a dispute over a woman, he challenges his rival to a stick fight. His village joins him by starting the age-old ritual by singing, and carrying their fighting sticks that are carved in the shapes of penises (of course).

The Donga is a gallery of incredibly compelling monochrome photographs of this ritualistic fight by photographer John Rowe.

John Rowe is a photographer and film maker who first trained at the US Navy School of Photography when he was 18 years old. He's also a successful businessman who has founded and managed companies which develop software and digital media for the entertainment industry.

He has also devoted a tremendous amount of time, energy and financial assistance to humanitarian work in Africa. He is also helping to save babies born in the Omo Valley from the brutal tradition of Mingi. Mingi is a tradition practiced for many generations by tribes of the Omo Valley like the Kara, labels certain children as “cursed.”

For more on John's efforts on this worthwhile cause, drop by PetaPixel's post on the subject.

Roy Del Vecchio | Viet Nam

Photo © Roy Del Vecchio-All Rights Reserved

It's still a couple of months away, but Vietnam is on my mind this morning...

And how else to bring it to the fore than featuring Roy Del Vecchio's Vietnam gallery?

Roy is photographer, editor and goldsmith from Amsterdam. He prefers to travel to various countries in Asia, and has extensive galleries of India, Burma, Morocco, Indonesia, Laos, Cambodia and Hong Kong. He also maintains a blog, with some lovely Hipstamatic shots of Delhi's Lodi Gardens and Humayun's Tomb (scroll to the bottom).

His photographs have appreared in Lonely Planet Magazine, UN-Water, FAO, Columbus Travel Magazine, ASEAN Tripper, CNN, D-Zone, Travel Sri Lanka, DMO Amsterdam, IRD, Grazia, BNO Vormberichten, Digifoto Pro, Das Erbe Unserer Welt Magazine.

Between The Three Volcanoes | Tewfic El-Sawy

BETWEEN THE THREE VOLCANOES

(click on image)

During the Foundry Photojournalism Workshop in La Antigua last week, I managed to squeeze in a few hours of street photography.

Using my Leica M9 and a Voigtlander 40mm f1.4 (and occasionally a Fuji X Pro-1 with a Fujinon 28mm f2.8), I walked the quaint cobblestones streets of La Antigua, not straying too far from its epicenter, Parque Central.

I titled this gallery as Between The Three Volcanoes, since La Antigua is cradled by three volcanoes; Acatenango, Volcán de Agua and the Volcán de Fuego.

Many of the photographs in this monochromatic gallery were made surreptitiously, using the shooting from hip technique I work with in the streets of New York City...aka shooting blindly (sort of). I don't see it as a furtive method, but simply as a way to capture the candid expressions of people in the public eye and in the streets.

Furtive or not, I seldom photograph (or show) pictures of the homeless or the handicapped wherever I go. In La Antigua, I photographed a person in a wheelchair being pushed by a woman who had the most interesting of expressions...but despite that, I decided against including it in this gallery.

I decided early on that I'd photograph in monochrome, and resist being seduced by the colors of Guatemala...whether the colors of the indigenous people's dress, or La Antigua's walls of red, mustard-yellow and orange. The Leica M9 has a setting with which my photographs were monochrome in jpg and color in dng...so I had the best of both worlds.

Some 10 years ago, I photographed in La Antigua (and some parts of Guatemala) during its spectacular Semana Santa, and comparing my photographs now and then, I am amazed by the difference and by the gradual evolution in my style. My photography used to be more for stock at that time, and now it's pure documentary-travel photojournalism.

I've chosen to feature this gallery on Medium, which allows photographs to be viewed is 1400 pixels on the long side.

Niqita Gupta | Baiga: The Vanishing Tribe

Photo © Niqita Gupta - All Rights Reserved

I came across some members of the Baiga tribals in Chhattisgarh, but they're mostly found in Madhya Pradesh, as well as Uttar Pradesh, and Jharkhand.

The Baiga are known for an almost reclusive culture, as they don't interact with other related tribals in the region, such as the Gonds.  They are totally dependent of the jungle for their survival, believe in a hand-to-mouth existence, have no interest in education, rarely eat outside their community, or associate with others. Following a death in the family, the Baiga just leave the house and build another. The Baiga consider themselves as people of the forest, who can only live on the produce of the forest.

A distinguishing feature of the Baiga tribals is that the women are famous for having tattoos on almost all parts of their body. Both men and women get their hair cut only once in a life time, as they take immense pride in their long hair as a tradition.

Photographer Niqita Gupta features a gallery Baiga: The Vanishing Tribe, and provides us with a brief glimpse into their simple life.

Niqita is based in India and can work worldwide. From the dense tropical forests of Kanha where the Baiga tribe lives, to the private lives of drag queens in London, she strives to work with communities and examine their relationship with each individual. 

Tewfic El-Sawy | Interview | Langly

Photo © Tewfic El-Sawy - All Rights Reserved

"I’ve visited India over twenty times over the past 16 years, and every time I visit I discover a new layer. Discovering India is like peeling an onion, one layer at a time reveals another layer, and there are probably millions of layers." 

I was recently interviewed by a staff member of Langly; a manufacturer of camera bags started by Evan Lane, a working photographer and director based out of Los Angeles. The camera bags are said to have been inspired by the life of the freelance photographer, nomadic professionals looking for something to protect their gear and look good doing it.

You can read the full text of the interview here.

I gather the Langly people saw my Exposure website, and liked what they saw...especially the photo essay on the Northwest India, and suggested an India-centric interview.

Langly camera bags was funded through a Kickstarter campaign, and successfully raised $88,000 from the public in summer of 2012. Although Langly bags appear to be fine products, I was not asked to endorse them nor was it suggested that I get remunerated in any way for this interview to appear on its website.

The photograph on this post of this unblinking girl is probably one of my many favorites of India. These three girls were part of a nomadic family in the Rann of Kutch, and sold tribal jewelry. 

Prantik Mazumder | Guatemala

Photo © Prantik Mazumder -All Rights Reserved

The play of light and shadows!

A few months ago, I was in Antigua (Guatemala) at the Foundry Photojournalism Workshop, and realized how visually interesting the contrasty play of shadows and light was in this part of the world, especially when the sun is at the top of the sky, and creates strong and compelling shadows.

And here comes a gallery of monochromes featuring just that...black and white photographs made in various towns of Guatemala; from Sacatepequez to Chichicastenango. Essentially street photographs made by a photographer that I regard as extremely adept at capturing the contrast of shadow and light, and its nuances.

Prantik Mazumder is a self-taught photographer, originally from Calcutta, India, and moved to North America for his graduate studies. Currently settled in Ithaca, New York, he's pursuing a career in scientific research.

This is not the first time I feature Prantik's work on this blog, but it's the first time that I choose his monochrome work.  He shows us work from Guatemala, Peru, Mexico, New Orleans and of his native Calcutta.

The Birth of Color | When Krishna Met Radhe

I'm pleased to feature my photo essay titled The Birth of Color-When Krishna Met Radhe with more than 20 "full-bleed" color photographs of the festival of Holi in Vrindavan and Mathura. I chose to publish this 'sampling' of photographs on Exposure, one of the photo-narrative portals that is designed to give photographers space to publish photo essays. Some of these images and others will also be published on my website.

These photographs were made during my recent The Sacred Cities Photo Expedition-Workshop to Varanasi and Vrindavan. We spent around a week photographing the festivities of Holi in Mathura and Vrindavan and in retrospect, it was one of the most difficult photo expeditions-workshops to operate due to the chaotic nature of the festival, and other factors which I address in more details here.

Part of the title to this photo essay is obviously inspired by the movie When Harry Met Sally...an iconic movie if there was ever one. There's no direct link with the movie's story, but I thought it was a catchy title. In fact, the festival of Holi is based on a number of legends; only one of which is based on the love story between Krishna and Radhe.

Producing an audio-slideshow of Holi is quite difficult because of the disparate events that took place whilst we were there. Particularly difficult is the editing that will have to go into producing a coherent audio track.

Photo © Charlotte Rush-Bailey-All Rights Reserved

Seeing the imagery I returned with, I now think whatever happened to me: getting whacked on the elbow by stick-wielding out-women during one of Holi's 'rituals', getting smothered with color powder or doused with colored water, was really worth the trouble.

POV: Style Evolution

Photo © Tewfic El-Sawy-All Rights Reserved

Photo © Tewfic El-Sawy-All Rights Reserved

Having just returned from Guatemala, I thought of revisiting the photographs I had made during an earlier trip to La Antigua (and some other towns and villages) during the 2002 Semana Santa, and comparing these to my most recent photo gallery Between The Three Volcanoes.

I rarely -if ever- photographed in monochrome at that time, relying on color (whether digital or film), using a 70-200 zoom lens for most of my shots, and essentially shooting for stock and magazines...as the top photograph (with space for text on either side of the subject) clearly is for. Storytelling or street photography wasn't part of my DNA at that time, and although I was mindful of Costa Mano's advice to shoot more complex images, I was still enamored with simple travel portraits.

Over the years, I witnessed the slow and progressive shift in my aesthetic vision (vision as in seeing rather than its more abstract meaning), and a desire of telling more in one image. Whether I succeed in "complicating" every photograph I make or not is open for debate, but I do try my best in achieving this goal...as in the lower photograph from my latest effort in La Antigua during a festive day.

It is only natural that one's craft should evolve over time, and hopefully improve with practice. But these two are different sides of the same coin. My style could've remain static, and I could've kept shooting for stock and simple travel portraits for all these years, and with time, I might have become really good at it.

Alternatively, I am much happier that my style has evolved to being a hybrid of travel-documentary photography, or as someone told me a style where "travel photography meets photojournalism". I still shoot travel portraiture on occasion, as I would shoot street portraiture, but my heart and visual acuity is now much more attuned to the 'complexity' of the lower photograph.

I may not be able to tell a story with every photograph or set of photographs, but the intent is there...bubbling under the surface, and sometimes the photographs fit together like a jigsaw puzzle...and a story is told.

Carlos Esteves | Bhaktapur

Photographs © Carlos Esteves (CE-TOP Photography)- All Rights Reserved

I start the new year with photographic work from Carlos Esteves, a Portuguese photographer who, in some of his galleries, merges travel photography with an aesthetic akin to fashion photography.

I particularly liked Carlos' work from Bhaktapur in Nepal, where he not only photographed in the streets of this ancient city, not far from Kathmandu, but also photographed what I presume are dancers in traditional Nepali court costumes. At first glance, and seeing some of these dancers looking out of ornate windows, I thought that they might have been Kumari Devi (the "living goddess" who are pre-pubescent girls considered to be the earthly incarnations of the goddess known as Taleju in Nepal), but they were dressed as such.

Bhaktapur is known as the 'City of Devotees' and is considered as Nepal's cultural gem. It is one of the three royal cities in the Kathmandu Valley. The others are Kathmandu, the capital of Nepal, and Patan.

Carlos Esteves has a degree in Computer Science and a Master in Business Administration, and is  mainly a self-taught photographer. His portfolio is certified by the Associação Portuguesa dos Profissionais da Imagem. He's passionate about traveling, and travel photography is a large component of his portfolio, and photographic interests.

POV: A Favorite Staged Photograph

Photo © Tewfic El-Sawy-All Rights Reserved

It's not often that I stage a photograph, and that it also becomes one of my favorites. But it's exactly what happened during my just completed The Sacred Cities: Varanasi & Vrindavan Photo Expedition-Workshop.

Walling back from a free-for-all photo shoot on the banks of the Yamuna river in Vrindavan, I saw brilliant and powerful ultramarine colored house walls, happily clashing with the remaining drab gray concrete walls of the neighborhood; reminiscent of the houses of Jodhpur's Brahmpuri area, the houses in Chefchaouen (Morocco), or even Reckitt's Blue Laundry Bluing (a traditional laundry whitener).

An elderly widow passing by prompted me to ask her to pose for us,  and showing no hesitation whatsoever, she almost hopped on the side step and sat there...patiently waiting for us to finish taking her photograph. I didn't need to prompt as to how to sit...doing so generally results in people looking awkward, and telling aged people how to pose sometimes causes them discomfort...so I refrain from doing that. My initial thought was that the pose did seem awkward but on reflection, I realized that many elderly women in  India adopt that very pose...the hand over a hip, and the rest of the arm forming a sort of triangle...almost at right angle to the body.

Photo © Tewfic El-Sawy-All Rights Reserved

Some time later, an attractive woman (presumably the lady of the house) came over to investigate the commotion outside her home, and while extremely graceful and gracious...she didn't have the photogenic ingredient that the widow had. At least, in my view.

Yes, it does happen...age trumps youth and beauty.

Hội An | Tewfic El-Sawy

I'm on a roll and featuring another photo essay on Exposure; Hội An: Port of the Cham Kingdom;

This time it's of photographs made in the lovely town of Hội An during my two photo expeditions-worskhops to Vietnam in 2012 and 2014.

Departing from my usual "no frills" documentary style of travel photography, I used Color Efex Pro 4 (Nik Collection) to give the photographs a sort of glamour glow, and enhanced the mustard-yellow color of Hội An's famous walls. 

Most of the photographs were made in 2014, and made with the Fuji X-T1 camera. I generally used the Zeiss Touit 12mm (effective 18mm) lens, and the XF 18-135mm f/3.5-5.6 on specific photo shoots such as that with the traditional fisherman. For the photographs made in 2012, I used a Canon 5D Mark II.

I shared my experience using the Fuji X-T1 and the couple of lenses mentioned above on a separate post on this blog, and explain how it impressed me to the point that I didn't miss my Canon cameras during the 2+ weeks of my 2014 Vietnam adventure.

In this Hội An photo essay, I chose photographs that reflect a number of styles; street photography, fashion and model photography and pure travel.

The ancient town Hội An is a well-preserved example of a South-East Asian trading port dating from the 15th to the 19th century. Its buildings, though many have recently been converted to shops and restaurants, still have an ancient ambiance to them...despite the ever increasing influx of tourists who come to enjoy this small corner of Vietnam.

In the 18th century, Hội An was considered by Chinese and Japanese merchants to be the best destination for trading in all of Southeast Asia, but its importance dropped significantly with the development of neighboring Đà Nẵng as a main trade center.

Theyyam: Incarnate Deities | Maptia

I'm very pleased that Theyyam: Incarnate Deities, one of my most colorful photo essays, is now featured on Maptia.

A beautiful way to tell stories about places, Maptia is a new platform designed for thoughtful, inspiring stories that make us want to get out there and explore the world, and each story has its own unique map.

It's different from the crop of photo/storytelling platforms that have recently appeared, inasmuch as it makes easy for people and story tellers to share long-form stories about the places that matter to them, and by creating unique, visual maps of these stories.

In an interview with WIRED some 6 months ago, Maptia's founders indicated that the platform already had a community of 10,000 bloggers, photographers, and writers.

Theyyam is a popular ritual form of worship of North Malabar in the state of Kerala (India), and is essentially a living cult with several thousand-year-old traditions, rituals and customs. 

In his book, Nine Lives, William Dalrymple wrote about the Theyyam. One of the stories, "The Dancer of Kannur", is of one of the Theyyam performers who's quoted as saying:

"...during the theyyam season, from December to February. We give up our jobs and become theyyam artists. For those months, we become gods. Though we are all Dalits (untouchables) even the most bigoted and casteist Namboodiri Brahmins worship us, and queue up to touch our feet."

The Theyyam prepares for his performance by meditating while his make up is applied, which usually takes a few hours. When it's ready and totally dry, he views himself in a hand mirror, and then enters in a sort of a trance, whereupon he walks (aided by assistants) over to the temple's shrine and gradually morphs into the shrine's deity. The Theyyam dances to the accompanying drum beat,  and goes deeper into his trance. At the appropriate time, the Theyyam is seated on a stool and devotees approach him with donations and solicit advice, which he provides in a raspy voice. I was also told that the Theyyams' advice is provided in a mixture of Sanskrit, Old Malayalam and Tamil. Both Theyyams and Kathakali performers use similar eye movements to convey emotions.

Andrew Stanbridge | Taungbyone Nat Festival

Photo © Andrew Stanbridge- All Rights Reserved

As readers of this blog know well by now, I'm attracted, photographically and culturally, to the especially unusual religious ceremonies and festivals in Asia and elsewhere. The French language has a word that's better suited than 'unusual', and it's insolite, and it is these that are pure catnip for me.

One of these unusual events is the Taungbyone Nat Festival, which is held near Mandalay every August (or thereabouts ).  This festival is known as the major gathering spot for spiritual mediums based on an ancient legend involving two Indian brothers. The cult of the nats is Myanmar's ancient animist religion.

Hundreds of mediums ( known as Nat-Kadaw) and thousands of pilgrims come once a year to Taung Byone, to commemorate the brothers' spirits. It is the most impressive Nat (spirits) festival in Myanmar. The Nats are spirits worshipped in Myanmar in conjunction with Buddhism. There are 37 spirits of  human beings who met violent deaths according to the legends.

It's certainly one of the festivals I plan photographing at some point (it has been on my bucket list for quite some time), especially as it's similar (as far as the involvement of transgender mediums) to the worship of Mother Goddess (Đạo Mẫu) that I'm hopeful to be soon photographing in Vietnam.

On Roads & Kingdoms, which is a popular and independent journal of food, politics, travel and culture, I chanced on the work of photographer Andrew Stanbridge on the Taungbyone Nat Festival, and which is titled Sauced Spirits; a remarkable and an in-your-face photo essay on this event, and on the people who attend it.

Andrew Stanbridge has been traveling and photographing throughout Southeast Asia for the past ten years. He documented the continuing modernization of Thailand, Laos and Cambodia, and he has more recently concentrated on addressing the physical, emotional and cultural scars left from various wars fought in these countries. He has also started to photograph postcolonial communities on the islands of Sao Tome and Principe as well as creating a visual survey of Ethiopia beyond the well-known images of drought and starvation. Most recently, he was involved with image making in Syria. 

His work has been exhibited and published internationally and is held in several prominent collections. It has been supported by many grants and he frequently visits colleges and universities in America lecturing on the aftermath of war. 

PS. A couple of minor quibbles about the captioning: I'm not sure Burmese ladyboys are called kaoteys ; a term used in Thailand, and the popular stimulant used in Myanmar is betel nut, not beetle nut.)

Michael Švec | The Kingdom of Mustang

Photo © Michael Švec-All Rights Reserved

Mustang (derived from the Tibetan word Möntang) is the former Kingdom of Lo where Tibetic languages are still widely spoken and traditional Tibetan culture remains. It was once an independent kingdom, although closely tied by language and culture to Tibet. From the 15th century to the 17th century, its strategic location granted Mustang control over the trade between the Himalayas and India. At the end of the 18th century the kingdom was annexed by Nepal. Its monarchy ceased to exist on October 7, 2008, by order of the Nepalese government.

It's a weeklong hike from the nearest airport (usually Jomsom or Pokhara) to the capital city of Lo Manthang, which is is one of the best-preserved medieval cities in the world, and which was  recognized by UNESCO as a world heritage site.

The remoteness of Mustang hasn't discouraged Michael Švec from traveling to photograph its landscapes and people, and produce a wonderful audio-slideshow titled The Last Forbidden Tibetan Kingdom.

While Michael Švec is a digital art director in Prague, he is also a documentary and fine art travel photographer, who works on assignments in Asia, Middle East and Europe. He traveled the world for more than ten years, focusing his lens on documenting traditions of changing cultures around the world, human rights issues and spirituality within people and places.

He tells us that he likes to stay with the people of the regions he travels to, he lives with them, eats with them and shares their lives as much as they allow him to. He needs to be accepted by the community before taking the pictures. Nice sentiment, and a difficult to achieve sometimes.

Michael's portfolio includes an audio-slideshow of the Indian Kushti wrestling, as well as slideshows of the Kalash people of Chitral in northern Pakistan, of the Pushkar camel fair and of the tribes of the Kutch.

Delve a little deeper, and you'll find photographs of Rio de Janeiro, Rajasthan, Ethiopia, Nepal, Kashmir, Iran, Morocco and Kashmir amongst others.