Pondering 7 Billion

(Maybe too many blogs? Today 12.19.11 I opened here to post a blog about journalism [coming shortly] and realized the below never was posted - still needs to be shared - maybe even more.)

Two years ago I took leave from GLOBIO, the children's education nonprofit I founded and was running (proving I don't hate kids - just kids having kids as well as people having them as some spasmodic knee-jerk reaction to wanting to be an adult.) I took leave to catch my breath, renew my love affair with creating images and rekindle my misplaced passion for writing. That was working I thought, but today I also wonder what it's worth divided by 7 billion.

I haven't looked up much since starting down the new road.

Great Ape Diaries is all consuming - writing, photography, thinking, traveling, and reflecting back and forward.

I'm only at the doorstep of the project, I'm convinced it will become The project of my life, (thus far.) It has every element I search for in a potentially great project, in fact it has them in spades: charismatic animals that look and act like us, orphans, threatened habitats, illegal trafficing, corporate greed, modern technologies, war, refuges, poaching, disease, the list goes on and on.

Journalistically I'm trying to remain open, open-minded, open-opinioned, as to where Great Ape Diaries will venture and what it will discover, and then this news:

U.N. Says 7 Billion Now Share the World

Today, because of that baby 7 Billion, I have been thinking endlessly about what that means for us, but especially about the implication for our other Hominidaes; those consuming my daily Google searches. Implication = resource use and abuse.

My thinking has had a reoccurring visual, a street scene from Goma: a squallered, muddy, human poverty-choked wannabe-town on the Democratic Republic of Congo (DRC) border of Rwanda filmed this past summer, and featured in an online video report by VICE, regarding the technology addicted precious mineral coltan. In short Coltan (Columbite-tantalite) is a metallic ore comprising Niobium and Tantalum, found mainly in the U.N. acknowledged semi-lawless eastern frontier region of DRC. In fact, 80% of the world's known reserve resides there - so do most of the eastern lowland (Grauer's) gorillas. The mineral magic happens upon refinement. It's there that coltan is transformed into a heat resistant power which has the unique capacity for storing electrical charge. Exactly the kind of charge every cell phone and similar digital device requires.

(Coltan is one of several minerals being mined legally and illegally in DRC called 'conflict minerals' - more from this NPR radio story and from theWorld.)

Population, over-population actually, isn't about a cute little baby softly wrapped in the fluffy cotton of pink or blue, it's about that scene in Goma. It's about millions of people on the fringe of the wilds where great apes hope to survive; people fighting and killing for their own survival. Most struggle themselves to survive on a dollar-a-day -- seven to ten times less than mining coltan -- so the alternative seems clear. It's about a place where coltan mixes with hopeless dreams, and tattered refugee camps that throb painfully from a savage civil war hang-over, and nearby forests that are being blacked into illegal charcoal for cooking fuel. In not so many months I will be standing on one of those far-away muddy street, filming and interviewing those struggling survivors - I'm going to ask them about coltan and great apes. I'm also going to ask them about baby 7 Billion. Reality is that baby 7B was probably born in a similar village, hut, or back alley; I'll likely hear 7B crying in the dirty distance.

Chances are baby 7B will never know the word coltan. When its wireless day arrives it will communicate on a device future-formed, and coltan will be a historical footnote in the evolution of that device. My fear is so will wild great apes; in DRC that will equal bonobos, chimps and gorillas. On that fact it is difficult to remain journalistic, to remain open-minded.

Pondering baby 7B and her or his impact - specifically on the other Hominids - carries a flood of emotions that I'm certain will flow time and time again over these next few years - I'll work to remain journalistic - please excuse the occasional hint of anger, frustration and even a tear that may creep in.

GeoTracking – Canon’s New EOS 1Dx

Overview from Canon:

“Canon has brought the best of the EOS-1D Series of digital cameras into one phenomenal model: the new flagship of the EOS line, the EOS-1D X*. Its full-frame 18.1 Megapixel CMOS sensor and all-new Dual DIGIC 5+ Image Processors deliver high quality image capture at up to 12 fps (14 fps in Super High Speed Mode) and a powerful ISO range of 100 – 51200 (up to 204800 in H2 mode) provides sharp, low-noise images even in the dimmest low-light conditions. An all-new, 61-Point High-Density Reticular AF and 100,000-pixel RGB Metering Sensor that uses a dedicated DIGIC 4 Image Processor, makes the EOS-1D X reach new levels of focus speed and accuracy delivering advanced tracking even for the most challenging shooting situations. Taken all together, the EOS-1D X’s improved HD video capture, numerous connectivity options, combination of processing power and durable construction, including shutter durability tested to 400,000 cycles, make it the ultimate EOS.”

Ya, just another camera body you say – but here might be the kicker (I’m hoping to get a system to test ASAP – then will report here as well as our Great Apes Diaries “the making of” blog.) Canon is also introducing the Wireless File Transmitter WFT-E6A and the all-new Canon GPS Receiver GP-E1.

The price for letting the world look through your eye

Most days are filled with research and preparation on the latest, but in many ways my oldest project, The Great Ape Diaries. One element of that project will be to work with award-winning documentary film-maker Skye Fitzgerald. In our last meeting Skye discussed a film technique he would like to use. One where you, the viewer, will share my perspective as I create images, in the digital diary posts we make. Skye suggested I watch War Photographer, a film by Swiss author, director and producer Christian Frei.

Frei followed photographer James Nachtwey over the course of two years into the wars in Indonesia, Kosovo, Palestine, and Nachtwey's pursuit of poverty and famine, ostensively as a by-products of war. In addition to an exterior perspective on what Nachtwey was experiencing, Frei used special micro-cameras attached to James Nachtwey’s 35mm still cameras. The approach surrenders a feeling of not just being in his shoes, but in his 'other' eye. I shoot this way, with both eyes open, a technique a taught myself years ago--the better to see the world moving in and around the frame. The documentary is a decade old, but the personal "in-sight" point of view or POV remains fresh and refreshing, even in this iPhone Youtube consumed world.

That POV is what Skye is interested in working out with me as we create The Great Ape Diaries - we'll discuss that more over the coming months on this blog. Our advantage of course is a wealth of new small HD video cameras like the Hero Pro. Still the challenge remains creativity and simplicity of communication, and that was the reward in watching Frei's War Photographer.

After some thought about the Academy Awards nominated documentary, I don't think it can be discussed outside Frei's microcam technique, although most online reviews and discussions are determined. Most of the online debate after the film debuted in 2001 were focused there, negatively and positively, on the age old reportage argument regarding war/tragedy: Is the photographer/journalist a cold and cynical chronicler, or should their humanity step forward and intervene in what they are bearing witness to? Or at the least step away from feasting on the pain and suffering of others? Words like vampirism, vulture, scavenger and leech were peppering the comments. Nachtwey's apparent calm translates as callous, his thoughtfulness as heartlessness, these have always been the leading volleys of critics. Unfortunately, to bolster their objections, there is one elongated scene in the German offices of Stern magazine where editors discuss an upcoming layout of Nachtwey's images in terms that translate into the hands of cynics; describing Nachtwey's horrors of war black and whites with adjectives like, "Fantastic" and "Ya, this great, terrific."

The micr0-cam I think does yield more than just a POV on the images Nachtwey creates, but on Nachtwey himself. As Skye has said to me, "I want to get in your head as you're back creating these photos." And any careful observation of the War Photographer I think does that. We, the viewer, have 96 mins of self-determination about what a war-photographer-kind-of-human James Nachtwey is or isn't. That kind of exposure causes me pause going forward on The Great Ape Diaries. A bit of fear. There is a price for letting the world look through your eye.

One of the last comments Nachtwey gives into the camera, and there are remarkably few, is regarding his role as image-maker in such conditions, "It's something I have to reckon with every day because I know that if I ever allowed genuine compassion to be overtaken by personal ambition, I will have sold my soul."

Again, critics may attack in their belief that "genuine compassion" begets involvement beyond the images, and Nachtwey's words are little more than hollow excuses, his soul was sold. But having met the man in an unflattering state, he is paying a price, and the images are a price to know reality. Nachtwey says earlier in the documentary about the genocide in Rwanda, "It was like taking the express elevator to hell." Never be so naive as to think that ride has no price. Having visited the suburbs of hell myself on another scale - no one else can fully judge the price.

*****

Finally this note. The sound track is as subtle and wonderfully done as anything you may never notice, but should. As someone said, "One of the most profound aspect I found in this documentary, is the use of sound. I think it's one of the best, if not most calculated sound editing ever done, since the film [is] supposed to focus on images."