Grab Shots: Eyes on the Prize

I saw ad this morning on the op-ed page of the New York Times touting the winners of the Hillman Foundation’s annual journalism awards for social justice journalism, so I jumped to the site to see the photojournalism winners. Sadly — and oddly — the page names the winners but doesn’t link to the work itself. Allow me:

* Childhood Poverty in Colorado — The Denver Post’s owner may be recovering from bankruptcy, but the photography (and reporting) staff is hard at work. Wonderfully intimate and ultimately saddening images from variety of families. The splash page is above.

* Ian Fisher: American Soldier — Photographer Craig Walker of the The Denver Post (again) follows the enlistment, war and homecoming of one soldier. Walker’s work also the Pulitzer this year for feature photography.

* The other photojournalism Pulitzer winner this year was Mary Chind, who shot the dramatic photo below of a construction hanging for a crain in order to rescue a drowning woman. Here’s the story behind the shot.

The Real Mexico? ¿Y cuál es ése?

Last night while at a reception at a local art gallery I was talking with Edgar Sóberon, a talented painter whose work was chosen for the next cover of Marin Magazine. Sóberon, a native of Cuba who now lives in San Miguel de Allende, the central Mexico city known for its large community of both artists and North American expats.

I mentioned to Sóberon that my wife and I have a house in Oaxaca in Southern Mexico. Hearing that, a woman in our conversation pocket said she planned to visit Oaxaca this summer and wanted to know what it was like. “Ah,” said Sóberon, “Oaxaca is what’s left of the real Mexico.”

As soon as I heard those words, I thought: The real Mexico? Which one is that?

Is the real Mexico in San Miguel, where thousands of older Americans, some wealthy, others living on Social Security, enjoy the tranquility, historical ambiance and mild weather the strong dollar buys them in this prosperous hillside city?

Is the real Mexico the terrorized border cities like Ciudad Juarez or Nuevo Laredo, where narco militias kill at will to protect their trafficking empires?

Is the real Mexico the one this art gallery guest hopes to visit in Oaxaca, where vendors sell colorful balloons in the zócalo, where the streets are lined with shops of artesania and where the cafés are crowded with language students having soulful discussions with their teachers?

Or is the the real Mexico the other Oaxaca — where government at all levels is marked by corruption, cronyism and crass disregard for the welfare of its citizens, where the average level of education is six years,  where three quarters of the population lives in “extreme poverty,” and where rural Indian communities continue to engage in tribal turf battles reaching back to pre-colonial times?

Real Mexico? These are all real Mexicos. And there are many others as well — the modern avenidas of Monterrey, the cosmopolitan chic of Mexico City and, the one known by most Americans, the self-contained resorts of the Pacific and Caribbean coasts.

Sadly, the Mexico most Mexicans must endure is a dysfunctional one, where government cannot — and often chooses not — to provide basic services, where narco-violence is on the rise and where the rule of law is something read about in textbooks not practiced in real life.

This is the Mexico that Laura Carlsen, director of the Americas Program at the Center For International Policy, labels on the Huffington Post as living in a state of impunity. Carlsen write in response to the April 27 murder of two human rights workers in a remote indigenous Oaxacan village, she frames the attack in the broader context of the state government’s history of not only siding with the powerful against the powerless but of actively repressing dissent.

Layers of impunity and injustice have covered crimes in Oaxaca for years,” writes Carlsen. Her list of examples is long — the shooting death of U.S. journalist Brad Will during the bloody 2006 teachers strike for which no one was ever convicted even the though shooters were video-taped; the continued iron-fisted arrogance of Oaxacan Gov. Ulises Ruiz Ortiz despite a ruling by the Mexican Supreme Court that he had committed human rights violations during that strike; and, now, the belief by human rights activists that paramilitary members sponsored by the government were behind the April 27 ambush outside San Juan Copala.

When the leaders of a society operate with corruption, arrogance and impunity, they create an atmosphere in which law has no meaning. As Carlsen puts it:

“Impunity is not merely a lack of justice and due punishment; it’s an incubator of violence and crime. When impunity becomes state policy, the rule of law crumbles. “

Although Carlsen is addressing Mexico’s most serious issues, her observation also applies to the quotidian illegal floutings of many Mexicans, who routinely run red lights, cheat on taxes, steal supplies from government contract jobs and see bureaucratic nepotism as a money-making opportunity.

I say these things even though I love so much about Mexico — its rich, blended culture; its amazingly diverse geography; its family centered communities; and, of course, its food (especially in Oaxaca). But I also love Mexico in the way I’d love a friend or relative with a substance-abuse problem — with sadness over his state, with anger his your self-destruction, and with hope that someone, some how, stages an intervention soon.

There is a Mexican saying, a dicho, that my first Spanish teacher taught me. It is apt here and goes like this: No hay mal que por bien no venga — “there is no bad that comes without a good.”

The real Mexico? That’s the one still waiting for the good to come.

On the Job: Good Work is Still Work

Toward the end of my newspaper career, I became intrigued by the concept of “good work,” effort that not only benefits society and meets certain standards of professional excellence but makes its practitioners feel personally fulfilled. Good work, as Bill Damon describes it in “Good Work, When Excellence and Ethics Meet,” is something “that allows full expression of what is best in us, something we experience as rewarding and enjoyable.”

It didn’t surprise me that the industry cited by Damon as antithetical to good work was newspapering. I, as ink-stained and wretched as anyone who ever chased a story, had been inside the news factory for 25 years and knew first-hand how the demands of deadline, the burdens of tradition and the rigidity of newsroom hierarchy stifled creativity, personal expression and, ultimately, the ability to consistently do the social good that newspapers in particular heralded as one of their primary reasons for existence.

After I left the industry a decade of transition defined alternately by periods of purposeful self-reinvention and intermissions of questioning self-doubt brought me to a fortunate point in my life: An opportunity to find “good work” as a photographer.

By many standards, I have successfully taken advantage of that opportunity. I shoot regularly for a local magazine, have published a much-praised book on organic farms and have managed to learn — through much trial and much more error — the basics of several types of photography.

But, as satisfying as these  achievements are, I would like more. I want to be a better photographer, by which I mean one who is more creative and less constrained by the ideas of others. I want to be a better technician so I can make happen images I see in my head but elude me in camera. And I want to build my photography as a business so I have more financial freedom.

Lately I have found that pursuit of the last goal can impinge accomplishment of the first two. In other words, the more business I get the less time I have for purely creative endeavors, which are often the pathways to leaning new techniques.

I am having a decent year as a photography business (compared to the doldrums of last year), so I am not complaining (or am I?), but I am a bit tired. I am doing a lot of events and corporate work, which involve long hours on the job, a lot of gear schlepping and then longer days processing on the computer. My youthful ambition is colliding with my not-so-youthful body.

In other words, even “good work” is still work. It fulfills mentally and emotionally — and I am thankful beyond expression for that — but it’s taking a toll physically.

In the ideal world (where is that place?), I’d grow my business with more advertising and product photography.  I’ve found I like working in the studio. I enjoy both the control I have over the lighting, and also the challenge of making the simple seem more exciting. The studio is also less stressful — the gear is there, I don’t have to produce 75 or 100 pictures form a shoot and clients are often looking at the photos on the computer while I shoot, meaning they aren’t suggesting afterward that I should have shot something else.

Until then, I’ll take almost any work that comes my way. At this point of my career, it’s all “good.”

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Photo notes: Flatbread by Rustic Bakery of Larkspur; shot for The Marin Store.