SebastiΓ£o Salgado

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Early Life & Career

Major Works

Legacy & Impact

The Khmer New Year

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Nikkor D Lens Compatibility with Nikon D800

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Becoming a Photojournalist

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Choosing a potentially dangerous profession like photojournalism requires preparation, resilience, and a deep passion for storytelling. Here’s a guide to help someone navigate this path safely and effectively:

1. Develop Strong Skills and Portfolio

  • Master the Craft: Enhance photography skills through courses, workshops, and hands-on practice. Street photography, capturing candid moments, is a good starting point.
  • Build a Portfolio: Create a compelling portfolio showcasing a variety of work, with an emphasis on impactful, human-interest stories.

2. Gain Relevant Experience

  • Internships and Freelance Work: Start with internships at media outlets or freelance assignments to gain practical experience.
  • Network: Connect with other photojournalists and professionals in the field. Attend industry events, join photography groups, and participate in exhibitions.

3. Understand the Risks

  • Safety Training: Take courses on safety in conflict zones and hazardous environments. Organizations like the Rory Peck Trust offer such training.
  • Stay Informed: Research and stay updated on the regions and situations you will be covering. Knowledge of the political, social, and environmental context is crucial.

4. Equip Yourself Properly

  • Right Gear: Invest in durable and reliable photography equipment. Consider cameras like the Nikon D3S or Canon 1D MkIV which have proven performance.
  • Safety Gear: In dangerous areas, gear like bulletproof vests and helmets might be necessary.

5. Develop a Support System

  • Mentorship: Find a mentor in the field who can offer guidance and support.
  • Mental Health Support: Dealing with traumatic events can be challenging. Have access to mental health resources and support networks.

6. Legal and Ethical Considerations

  • Understand Legalities: Be aware of the legal implications and regulations in the areas you are working in.
  • Ethics: Maintain ethical standards in journalism. Respect the dignity and privacy of the subjects you photograph.

7. Be Persistent and Adaptable

  • Stay Determined: The path to becoming a successful photojournalist can be challenging and competitive.
  • Adaptability: Be open to different styles and methods of storytelling.

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The journey to becoming a photojournalist is both demanding and rewarding. It requires a balance of technical skill, safety awareness, and a profound commitment to telling human stories.

If you’re eager to start, why not practice your skills by capturing compelling stories in your local area? Street photography often provides a rich tapestry of human experiences and can serve as excellent preparation for more intense assignments.

For a burgeoning photojournalist like yourself, focusing on specific photography skills can elevate your work and help you capture impactful, story-driven images. Here are some key skills to hone:

1. Composition and Framing

  • Rule of Thirds: Understand how to compose images by dividing the frame into thirds, placing points of interest along these lines.
  • Leading Lines: Use lines to guide the viewer’s eye to the main subject of the photograph.
  • Framing: Experiment with natural frames within your environment to highlight the subject.

2. Exposure and Lighting

  • Manual Mode Mastery: Get comfortable shooting in manual mode to have full control over shutter speed, aperture, and ISO.
  • Low-Light Photography: Practice capturing sharp and well-exposed images in low-light conditions, a crucial skill for photojournalists.
  • Natural Light: Learn to use and manipulate natural light to enhance your images.

3. Focus and Depth of Field

  • Selective Focus: Understand how to use selective focus to isolate your subject from the background.
  • Depth of Field: Play with different apertures to create depth in your images. Use a shallow depth of field for portraits and a deeper one for environmental shots.

4. Candid and Street Photography

  • Spontaneity: Capture un-posed, genuine moments. This is essential for telling authentic human stories.
  • Discreet Shooting: Develop techniques to shoot discreetly, so as not to disturb the scene you photograph.

5. Post-Processing

  • Editing Software: Gain proficiency in photo editing software like Adobe Lightroom and Photoshop.
  • Ethical Editing: Learn to enhance images while maintaining their authenticity and integrity. Avoid excessive manipulation.

6. Visual Storytelling

  • Narrative: Each photo should contribute to the overarching story you aim to tell. Think about how your images work together to convey a message.
  • Sequencing: Practice creating a photo series that guides the viewer through a visual narrative.

7. Technical Proficiency with Gear

  • Camera Handling: Be familiar with your camera’s functions. Practice changing settings quickly and efficiently.
  • Lens Selection: Understand which lenses to use for different scenarios. Prime lenses are great for low light, while zoom lenses offer versatility.

8. Research and Contextual Knowledge

  • Background Research: Always research the context of the stories you are documenting. This ensures your images are informative and respectful.
  • Cultural Sensitivity: Be aware of and sensitive to cultural norms and practices in the regions you photograph.

9. Resilience and Adaptability

  • Patience: Sometimes the perfect shot requires waiting for the right moment.
  • Adaptability: Be prepared to adapt to changing conditions and unpredictable situations.

10. Ethical Journalism

  • Code of Ethics: Familiarize yourself with the ethical standards in journalism. Always prioritize the dignity and safety of your subjects.

Consistent practice and a willingness to experiment and learn from each shot will help you develop these skills. Documenting your local area can be a great way to start building these competencies.

Is there a particular technique or skill you’d like to dive deeper into?

Enhancing your visual storytelling in photography involves more than just capturing beautiful imagesβ€”it’s about conveying a narrative that resonates with your audience. Here are some techniques to elevate your storytelling:

Subject: Identify the main subject or theme of your story. It could be a person, a place, or an event.

Storyboarding: Plan your shots in advance. Create a storyboard to visualize the sequence of your story.

Moments: Look for decisive moments that highlight the essence of your narrative.

Juxtaposition: Use contrast and juxtaposition to highlight differences or similarities within the frame.

Shadows: Incorporate shadows to add depth and drama.

Metaphors: Create visual metaphors that represent abstract ideas in a tangible form.

Details: Pay attention to small details that contribute to the overall narrative.

Pacing: Vary the pacing by mixing wide shots, medium shots, and close-ups. It keeps the viewer engaged.

Enhancements: Enhance colours, contrast, and sharpness to draw attention to key elements without over-editing.

Interaction: Engage with your audience

Srei Crieat. Day 1 to Finish.

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This story started about 7 weeks ago when a friend of mine mentioned an old lady (Srey Crieat), who lives in the same village as she and had recently been bitten by a snake. What snake was not known but it certainly did some major damage.

She showed me some pictures on her telephone and I was very shocked about the state of her hand and arm. She looked to be in a lot of distress.

I asked her how long ago this had happened and she informed me that it was about two weeks earlier and that Srey Crieat had been seen at the local village hospital who had suggested she be sent to Phnom Penh for the arm to be amputated. She did not want this and was after about a week was sent home, little or nothing was done about the arm, she was given some antibiotics.

At the invite of my friend it was decided that I would go out and see Srey Crieat as soon as possible, initially to assess the damage that could not be seen in the phone pictures and to see if there was more that could be done.

This is what we found the next day. The hand and arm were in a pretty terrible state and to all intents and purposes looked like it had never been cleaned and hand been left exposed since she had left hospital. It was quite badly infected and showed lots of necrosis on both the hand and arm, the primary bite site looked to be the hand although extensive damage up to the elbow could be seen.

As can be seen in the picture above the upper hand was extremely damaged and with a full thickness skin necrosis. The fingers were extremely swollen and tender but had good pulse showing blood flow present. This certainly was going to take time and commitment if anything was going to be done to improve the situation for this lady. It did not help that it would be a 70Km trip just to get there each time and 70Km back.

There was no way I could leave anyone in this state, the hand was badly infected and damage extended to the elbow. I had to accept that there were risks of further systemic infection and this was discussed with Srey Crieat. She just was so sad and wanted somebody to help and accepted the process may be long and maybe painful. She wanted to go ahead.

First things first I had to get the area clean and with the limited supplies I had with me I began that process.

Using a mixture of Povidone and Hydrogen Peroxide I soaked the hand and removed most of the dirt, that I could see and also many insect eggs. The upper arm I decided to leave until I visited the next day, with the correct equipment to complete the cleaning process. The hand and arm would need more than just cleaning though it was in need of extensive debridement, but I did not have the gear with me to start that process.

A temporary covering was applied to the hand and arm and arrangement made to return the next day giving me time to gather and buy the gear I would need to begin this job. She did not appear to be in much pain, probably due to the damage done by the venom and she was not needing, at this point and analgesia.

Day Two

On returning the next day another extensive clean of the whole arm, fingertip to axilla was completed, using the same solution. The hand was in need of a sharp debridement but the necrosis was hard and very difficult to work with so I decided to dress the hand and lower arm in ”fresh wild honey” and dress it with ”cling film” (yes ordinary kitchen film) to soften and clean the areas of necrosis so that they could be more easily dealt with. I arranged to return in three days to begin the debridement.

Day Five

On my return the bandages and cling film were removed (as seen above) and the hand was much more manageable and ready for the necrotic tissue to be removed. It was quite extensive and not going to be a simple job, and care was need not to damage the underlying structures. I was prepared to use local anaesthetic but she said she did not have any real pain and so we went ahead without (slowly).

After about 30 minutes of work, with very little bleeding, we were able to remove the necrosis down to nice pink tissue with good blood flow.

This was enough for her for one day but she showed no pain. The other areas on the arm also need to be removed but there was no rush, the main area of potential infection on the hand was off and I was please to return to the other areas in a few days. The hand and arm were again redressed with Honey (lots of it) and cling film and I would return in three days to continue giving the hand and the lady time to recover.

Day Eight

On returning I set to work removing the other necrotic areas on her forearm. After this we continued for another week (twice weekly visits) with honey and cling film dressings. She was given another course of antibiotics as a precaution and because of the difficult conditions she lives in. After this no more antibiotics were needed.

The improvements began to come quite quickly once the area was fully cleaned of necrosis and other detritus. I used plain white sugar mixed with Vitamin D ointment on the hand for the next week and continued the honey application to the forearm. This seemed a good combination and worked well.

This was the back of her hand after four weeks, showing pretty good healing and no infection present. I continued with sugar and vitamin ointment.

After another three days even more improvement noted.

Day 11

We continued with the same treatment for the next week, the wounds continued to get smaller until the point came over the last two weeks that some of the areas were ready to begin the process of scabbing. For the next week we dressed all areas with no stick dressings brought in by a friend from Bangkok, until such a point than we only needed dry protective dressings.

As can be seen on the last pictures there is certainly some scar tissue but much less than I expected. She has a reasonable amount of movement in her hand and her fingers will become less swollen as her hand movement increases.

Simple dry dressings now until the remaining areas scab over. One very happy and feisty lady now, such a pleasure to see. Just over seven weeks total to get to this point. Such a brave lady, well done …..

BIG THANKS GO OUT TO BILL FOR HIS GETTING ME SAFELY THERE WHEN NEEDED AND HIS SUPPORT IN GENERAL. TO ALL THOSE WHO MADE THIS POSSIBLE (YOU KNOW WHO YOU ARE) I APPRECIATE IT AND SO DO THOSE IN NEED

#firstaid #asia #medical #sick #charity #snakebite

The Nikon D700

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  1. Versatility: The full-frame sensor allows for greater control over depth of field, enabling photographers to achieve beautiful background blur (bokeh) and more creative compositions.

The Failure of Fleetwoods Fishing Industry

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  1. Cod Wars: The disputes between the UK and Iceland over fishing rights in the North Atlantic during the 1970s severely impacted Fleetwood’s fishing industry. Iceland’s restrictions on fishing in its waters significantly reduced the available fishing grounds.
  2. Government Policies: In the 1990s, many fishermen sold their boats under a government decommissioning scheme to preserve fish stocks.
  3. Economic Shifts: The rise of imported fish and changes in the global fishing market also played a role in the decline.



Today, Fleetwood fishing industry is a shadow of its former self, with only a handful of trawlers remaining. The town has shifted its focus to fish processing and other industries to sustain its economy

The Cod Wars were a series of confrontations between the United Kingdom and Iceland over fishing rights in the North Atlantic. These disputes took place between the 1950s and the 1970s and were primarily about the control of fishing grounds around Iceland.

  1. First Cod War (1958-1961): Iceland extended its fishing limits from 4 to 12 nautical miles, which the UK did not recognize. This led to several confrontations at sea.
  2. Second Cod War (1972-1973): Iceland further extended its fishing limits to 50 nautical miles. The UK again did not accept this, leading to more clashes.
  3. Third Cod War (1975-1976): Iceland extended its fishing limits to 200 nautical miles. This time, the conflict was more intense, with both sides using naval vessels to protect their fishing fleets.

Each of these disputes ended with Iceland achieving its goals. Largely due to its strategic importance during the Cold War and its threats to withdraw from NATO.



The Cod Wars had significant economic and social impacts on British fishing communities. Leading to job losses and changes in the fishing industry.


Read On and Learn

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The exposure triangle

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1. Aperture

2. Shutter Speed

3. ISO