"I don't know what your destiny will be, but one thing I know: the only ones among you
who will be really happy are those who will have sought and found how to serve" Albert Schweitzer

Tuesday, August 17, 2010

Haiti: 12 January 2010

13 January 2010. As darkness envelops Haiti’s people, a community’s songs filter through the air. Moving though the capital city, a photographer comes upon a small medical clinic tucked within the shadows. The bodies of the dead are piled outside the health care center. A number of people are trying to sleep in the building’s congested courtyard despite their evident pain—they lack medicine, food, and supplies. Drawing closer, amidst the dirt and debris, a Haitian woman wrapped in a blue bed sheet extends an outstretched hand in a desperate plea for help. Her pain touches the photographer, who immortalizes the scene.
“Great photography demands questioning,” says Sherman Teichman, Director of the Institute of Global Leadership (IGL) at Tufts University.
From the small inquiries—who is this woman? What has she suffered? —to the larger, more thought provoking questions—where are the medical supplies? What can I do to help her? How can I lift her up and onto her feet once again?
This philosophy, one that pushes people to question the causes behind images, guided collaborators from the IGL and de.Mo Design Company as they compiled photographs and words for Haiti: 12 January 2010, a striking sixteen page folio publication. More than six months after the Haitian earthquake, as media attention slowly shifts to new stories, it becomes easier for people to forget about Haiti’s suffering. This folio provides a needed reminder; it compels people to continue to think about Haiti.
Because all proceeds from folio sales are donated to Partners In Health (PIH), people who purchase the work are not only continuing to think about Haiti, they’re committing to action. Get the folio of Haiti: 12 January 2010.
Photographer Ron Haviv, a co-founder of VII Photo Agency humanizes Haiti’s tragedy through images like the woman in blue reaching out for help. “They allow you to absorb the overwhelming aspect of the disaster as well as relate on a one-on-one level,” says Haviv. “Images are potent because they are immediate and urgent, but they also require context,” Teichman adds. Simon Winchester’s introduction, “Catastrophe, Nature, God and Understanding” provides context, shaping the folio’s powerful narrative.

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