Harold Eveas- Pictures on a page (Photo-journalism, Graphics and Picture Editing)

Harold Eveas- Pictures on a page (Photo-journalism, Graphics and Picture Editing)

This book introduces us with news photographs; there is analysis and research of the most famous journalism pieces published in magazines and newspapers. Harold Evans was an editor of ‘’Sunday times’’ and ‘’The Times”, so he has knowledge und understanding about news photography. Many famous photographers are interviewed in this book such as Bert Hardy, Bill Brant, Don McCullin, Henri Cartler- Bresson and many others.

Evans selected the five news photographs and proved to the audience that images taken by machines of amateur photographer can be published in newspapers and magazines. Those pictures are Astronaut photographed on the moon, Automatic camera catches bank raider, Sherpa Tensing on the Everest 1953 photographed by Edmund Hillary, John Gilpin catches DC-8 at take off, an atomic bomb exploded underwater in a test, near Bikini Atoll, 1946.

There are many photographs as examples and their explanations why this image has been taking exactly from this viewpoint, how photographers struggles to catch the right image, but uses 6 images to create one for example when Queen Elizabeth set foot on French soil for the first time in 1957.

Evans advices how photographers can add new perspectives to their jobs: every bending on the knees will help, when rest of us photographic on the eye-level,

Changing filters; to make distracting background blur, panning, change speed, the most important photographer can move himself to get fresh viewpoints.

I totally agree with Mark Godfrey, be believes that people have invisible zone of defense, when you get to close, you distract subject and decisive moment just runs away form you. I have notice that people do not know how to act in front of the camera.

Evans makes every image clear, he describes the main purpose of it, then how well photographer coupe with this and then he goes into technical details. He informs us about shutter speed, aperture, what lighting photographer used, how he focused his camera, to get such an effect and so on.

There are so many aspects of this book I can talk and talk. To be honest I wasn’t attracted to this book straight way, but now I see that this book is encyclopedia for photojournalist. There is all information what we need in one place. I am glad Harold Evans shared his knowledge and experience with us.


Critical review

Steve McCurry. Inspires young photographers

The main aim for this project is to prepare myself for assignment five, which is the last assignment of the course. To analyse what Steve McCurry does well and what issues his photography raises.



‘Steve McCurry is born in Philadelphia- Pennsylvania in 1950. He attended Marple Newton High School, later Penn State University. McCurry graduated in 1974 as a special in cinematography. He gained an interest in photography already at University; this challenged him to work as a photographer for Today’s Post. Even then McCurry has a huge interest in India, this is how all the trips around the world started.

McCurry received his first photography award (The Robert Capa medal for the best Photographic Reporting from abroad) in 1980, after his first trip to Afghanistan. McCurry put himself in danger many times in countries such an India, Pakistan and Afghanistan. There are many things we had to do in order to produce those photographs. He had to get into local dress in Pakistan in order to get through Pakistan-Afghanistan border; he had to sew film strips inside of his closing too.

McCurry had an experience in a plane crash when he has been taking aerial pictures, the plane crashed into the lake, he had a problem with his removing his seatbelt once the plane was sinking, however he managed to swim to the shore and boat picked him up. All I all his situation did not stop him from travelling and producing the best documentary photographs.

McCurry the most famous photograph is ‘’Afgan Girl’’; this image has been taken in 1984 in a refugee camp in Pakistan. Then the young lady, only thirteen years old, identify was unknown. This photograph made a storm in documentary photography; In June 1985 it appeared on National Geographic cover, it been nominated for several awards. After 18 years McCurry went back to Afghanistan and found her again, the picture became cover of National Geographic in 2002.

Rules of McCurry photographic composition:

  1. Rule of thirds

2. Leading Lines


3. Use natural lines to lead the eyes into the picture


4. Diagonal lines create great movement


5.Use natural frames like windows and doors


6. Find a contrast between figure and background


7.Get close to your subjects


8. Place dominant eye in the center of the photo


9. Patterns are aesthetically pleasant


10. Symmetry


Interview with Scott Shuman and Steve McCurry:

I found this video interview very informative, as here McCurry answers important questions how he handles photographic situations and what are the main details to create successful portrait.

McCurry works with the light, if lighting is not right, he asks subject to meet another day, if this is not the case photographer ask to walk with the subject to find better lighting and place. If lighting is not suitable for outside shooting, McCurry chooses inside places where this sort of lighting can create stunning effects.

McCurry inspiration is Henri Cartier- Bresson, as he took very well composed images, numbers of portraits too. There are many aspects where McCurry and Bresson’s work meet the same composition and lighting rules.

I have selected a couple of photographs to prove this:

BressonPound duchamp sartre_140-e585d76766a691010365c03f7fcb7a11d80d1769-s6-c30


McCurry always travels with the local person, who can explain the situation better especially in those countries where you can be in danger every minute. Also, there is a danger to do something against the local rules, this can only be explained by local people. I have imagined that photographers such McCurry does not work all the day, unfortunately his day starts from sunrise and finish at sunset. The most important to be there you can enjoy, this is what stimulates you to go forward. McCurry talks about the times when he could not get the right pictures, however the most important is to stay positive, even taking not so good images is part of your learning so we should not be offended by this.

McCurry talks about how to stay positive by taking pictures, we have to look at the bigger scale and the percentage of our successful shots, not every single image can have sparkle.

McCurry Untold: The Stories Behind the Photographs (Phaidon):

“Compelling photography doesn’t require exotic travel, but I needed to wander and explore.”(Steve McCurry, Untold)


McCurry collected all the restaurant receipts, maps, photographic notes, first published pictures and copies of magazines for the thirty years. Every one of the listed has his own story.

The most important project Steve McCurry worked on is ‘’Moon Soon””. He has been inspired by Brian Brake’s project Moon Soon for the magazine in 1962.


CT035625 - SMALL.jpg

 McCurry produced his own photographic version of Moon Soon. There has been a huge flood in one of the cities of India, name Guder Ad. There was a horrible situation; people lived on the roof, you have to walk in the water up to your chest, lots of dirty water with dead animals in there. For McCurry it has been an amazing opportunity to record such a situation, to show all us that even this situation can be handled. He went to Bombay later on, where he meets a young lady with the child asking for some money through the taxi’s window, this situation only lasted for 7 seconds and McCurry managed to make two shots, after this taxi just drove off. McCurry’s interpretation is: her and his world met just for a second, to see such a big contrast there.

Diane Arbus perspective:


Diane Arbus talked about how difficult is to show images with correct understanding what your subject is really is. It is hard situation where two perfectives meet, one might think this is horrible, others just accept this as an everyday reality.

‘’What I’m trying to describe is that it’s impossible to get out of your skin into somebody else’s. And that’s what all this is a little bit about. That somebody else’s tragedy is not the same as your own“. (Diane Arbus)

McCurry understands portraits and their meaning differently:

I would hope that my work in a way shows the shared humanity that we have. I have been photographing people all over the world and I think what I have always tried to do is show what we have in common.” (Steve McCurry, Novermber 6th, 2014)


This is the best explanation why McCurry photography is so successful, connection between photographer and subject is much stronger than technical elements, lighting, correct expression.

Themes and subjects:


McCurry talks about how he decides on the theme and subject, simply his advice is to photograph those things that are important to you, has a meaning to you. McCurry works many hours on his photographs, this is searching for the right picture, once you find the right subject and the right place your image becomes special. There is important that the images we take have an important story. This is where photographs open the door to communication, photographers and viewer’s communication.

The photograph is an undeniably powerful medium. Free from the constraints of language, and harnessing the unique qualities of a single moment frozen in time.” (Steve McCurry, Behind photographs: Archiving Photographic Legends [Foreword])

McCurry advice is to reduce researching time and spend more time on shooting, as too much preparation and research can lead you to failure. For example if you are given a week to create photo story and leave 5 days for research and 2 for shooting, you are at risk that you will run out of time. However, if you spend 2 days researching and 5 days shooting this increase your images success level straight away.

We have to wonder and absorb in the location in order to start feeling the local mood and try to understand the local people. McCurry proved with these photographs that not a destination where you travel is most important; he made so many great shots on the way to those destinations. In photography, we can not plan things, as things changes so quickly you have to adjust to it.

Ethics and privacy in Mccurry photography:

My life is shaped by the urgent need to wander and observe, and my camera is my passport.”(Steve McCurry, Amateur Photographer Magazine)

I will have to disagree with the sentence above. No one has a right to get into another life with a camera and even more publish this image across the world.

I have in mind, ‘’Afgan Girl’’., this is the most successful image of the time.


Looking at those eyes, we can tell that thirteen-year-old girl was scared and not prepared for the shooting. This raises the question did McCurry used the moment when this girl is vulnerable? Has this situation made the shooting process easier?

Also, we have to mention Article 8 of the Convention of Human Rights (the right to respect human’s privacy).

Article 8 – Right to respect for private and family life

  1. Everyone has the right to respect for his private and family life, his home and his correspondence.
  2. There shall be no interference by a public authority with the exercise of this right except such as is in accordance with the law and is necessary in a democratic society in the interests of national security, public safety or the economic well-being of the country, for the prevention of disorder or crime, for the protection of health or morals, or for the protection of the rights and freedoms of others.

This question in the UK has been raised in 2008 when famous writer’s JK Rowing son in a pushchair was intentionally photographed by press photographer and later were published in many press magazines.

Looking back at ‘’Afgan Girl’’ does she has right to the privacy? Did she understand how far this image will go? Did she ever want to be represented this way, as a refugee?

It seems like everyone made money out of this; McCurry, magazines, but what about the main subject of this photo story? If this image would be taken in the UK and published, this would get an attention of government institutions, child rights protection, but does it really matter what country you are born in to protect your rights?

Obviously this image is not as bad as ‘’Somali Child’’, the images were taken in Somali at the worst drought. Also western aid could not reach that place during the war, this mean that people just kept dying there. There is also a question if this image won’t be published would reader truly understand what is happening there?


I think that this image had to be published, however, I always think from the other side, if this would be my child? Would I be OK if someone would photograph him and published around the world? I would say no as the biggest part of parents.

If we compare those two images we can clearly see that McCurry has aesthetics in his images, he never goes too far into situations like this.

All in all Mccurry is a great photographer, he has his own and unique photographic voice, I am able to see his passion in photography through his images, all the interviews I have seen with him, he talks about how hard we have to work, wander around and search for the right shot, most important we have to enjoy of what we do to be a successful photographer. Beside that McCurry is a photographer, he is taking part in photography society; there are many interviews, many lessons and much more of his suggestions how to become the best-known documentary photographer.

‘’It’s important to be curious no matters what profession you are in’’ McCurry said.

McCurry is searching for the right angle to shoot, also details are important such as clothing’s or eyes, together with isolation from the rest of the world, shows us the connection between photographer and his subject, connection between western and eastern worlds. All this process is normally done before he even start shooting, then is the hardest work to convince them to be photographed:

‘’The challenge is to convince them within 15 seconds to be my subject, ‘’he said. Respect is essential to establish that trust.’’

Another important part of his successful photograph is to work with translators otherwise it may cause problems, especially in eastern countries.

isnto it, and carved out something that’s become special. And that takes a lot of time and a lot of work – that’s not for everyone. Regardless of how successful you are, it’s important for you to spend your time photographing things that matter to you. You need to understand the things that have meaning to you, and not what others think is important for you. Having a blog is one of the easiest ways for your to get your work out to a wide aReferences:



Harold Evans – Pictures on a page

James Curtis – Making Sense of Documentary Photography

















Proposal for critical review

Proposal for critical review:

Analyze documentary photography, facts, problems and solutions.

I have chosen this theme as it is very wide and covers many things as what definition documentary photography has and how this looks in real life, how documenting and gazing can cause issues such as false information, personal life interruption.

I am planning to look into photographic ethic very carefully as there are some many photographs taken which goes beyond any ethical rules such as child crying after just witnessed his mother’s dead. This makes me think that some photographers do not have any feelings at all. Would they like if their children would be in the same position?

Also the problems of publishing, not photographers decide what has to be published but editors who never witnessed real situation; this is where we spread false information to the reader. This is the reason why I totally ignore publish photographs in newspapers and journals, as there is false information or information which is manipulated. I prefer to visit galleries and exhibitions; this is where we can find true art and real facts.

The latest exercises introduced us with famine photography where raises many discussions on how aesthetic those images are. Surprisingly we can find very aesthetic images and other have lost this.

Another important issue I would like to cover is should some photographs be printed, as some of those kinds of photographs contain lots of blood, dead bodies, and parts of bodies that are not suitable for publishing. However this is choice of newspaper editor, but I will argue with this in my critical review.

Photographers such as Seydou Keita, Leni Riefenstahl and Irving Penn introduced us with different kind of portraits. Those images are taken in very similar areas of famine and horrible living conditions. However, to distract subject from their surrounding is very good idea to highlight optimistic side. Images taken in East but had got western style.

There are many issues and problems in documentary photography I can cover with my critical essay, can not wait to start writing.

After receiving feedback from tutor on my proposal, I decided to concentrate on one photographer for this project; it is Steve McCurry, the most famous documentary and travel photographer. I have looked at the main points that makes him so successful, what is his understanding about his projects, how he deals with difficult situation, what issues I see in his photography. All this work is the great start for the final assignment of this course – assignment five.

Exercises for Assignment 4

Exercise 1: Read the article ‘’On Foucault: Disciplinary and Photography’’ by David Green ( The Camera Work Essays, 2005, pp.119-31). Core resources: OnFoucault.pdf

Sumamarise the key points made by the author in your learning log.


The main idea of discipline in this article means training people to obey rules using punishment.

Writer raises the question if people have to be punished to learned their mistake, or is it possible to do reach this goal in other ways.

Discipline and punished has influence on documentary photographic practice too. Photographer uses discipline to observe and record those issues or themes he thinks is important. In other words photographer has power over his subjects.

We also have to think about subject as free people, street/ documentary many time go to close, record very personal things and situation. Documentary photography opened new possibilities to use photograph as an evidence, however we have to think how we will use power of photography to obey rules of ethical values.

Exercise 2: Read the article ‘The Photograph as an Intersection of Gazes: The Example of National Geographic’ by Catherine Lutz and Jane Collins.
Core resources: NationalGeographic_gaze.pdf

In what ways does the idea of the gaze apply to your photography? What are the implications of this for your practice? Write a short reflective commentary in your learning log.


This article is about relationship between photograph subject and magazine. This is about meanings of gaze, which created westerns.

National Geographic magazine is about different photography, photography who has meaning and a story. In this type of magazine we can find photographs as documents and also beauty photographs.

7 types of gaze listed in the article:

  1. Photographers gaze
  2. Institution gaze (magazine)
  3. Readers gaze (western readers)
  4. Subjects gaze (non western)
  5. Explicit looking done by a western subject appearing in the frame with non western locals
  6. Returned gazes (from reflections, mirrors, subjects using cameras)
  1. Academic gaze

This article made my think about ethics in my photography practice. We have to be careful taking non-westerns people as subjects in our photography, there are many images in a press like this. We have to take in count if we were in this situation, how would we feel?

Those images were taken to inform rest of the world about poor situations our there, but this doesn’t give us a right to take photos like this.

In my experience I have been doing few projects on street photography, but then I did not took those ethical issues in count, now I see problems in this…

In my opinion documentary photographers work for public to inform and highlight current issues. In this case people have to let photographers gaze on them, use their personal information.

Exercise 3: Listen to Don McCullin taking about his exhibition Shaped by War on Radio 4’s Excess Baggage: www.bbc.co.uk/radio/player/b00qlgzg

This radio interview covers an idea of how those photograph of pain, death, conflict, war and suffering affect us. I thing that everyone human being seeing things like this have a strong emotional effect.

McCullin in this interview describes how he felt about that kind of situation. He wanted to escape North London, however when he escaped and saw even more tragical and very difficult situations. It is very hard when you photograph subject asking you for help and you know you can not do anything, only to take that picture and send message across to the audience.

This is where Mc Cullin found landscape photography, this was an escape and some kind of meditation for his soul and minds.

Monica Porter talks about her experience, growing up in New York and London, in a perfect and safe environment. When at that time there was a war in Hungary. When she was nineteen she decide to visit her Home land, and there were so many things she weren’t comfortable with. Growing up or living in another country so a long time makes you really an outsider, you come back to the place you are borned and you don’t feel that connection anymore. I am talking about my own experience.

This exercise is for us to understand that photograph is a document, however we need to understand photograph. Images have to have clear message. I believe that photograph is successful when you see photographer’s emotional input in it.

I can talk form my own experience, I tried to create photographic project based on homeless people, I fell shock that most of them just impersonate to be one. But the homes who were really homeless with serious health problems, I could not take images of those, their eyes screamed help me. There was too strong emotional feeling, which I couldn’t face up to.

Exercise 4: Read the articles ‘Walk the Line’ by Max Houghton (Foto, Issue 23, pp. 143-4) and ‘Imaging War’ by Jonathan Kaplan (Foto8, issue 23, pp.142-3)

Core resources: Foto8#23_Kaplan&Houghton.pdf

The full issue of the magazine available to download from:


Write down your reactions on the author’s arguments.

Jonathan Kaplan is a war surgeon and at the same time photographer, he raises a question where is the limits for photographs to be shown.

Max Houghton writes about same article, he have to understand that photography is not only the art, it is strong toll also. The image in his article definitely crosses all ethical boundaries. Also this image distract viewer from the main problem/issue.

I am mother myself, seeing this situation in the real, I would probably forget about camera, I would try to help this distress child, who left without mother.

This makes me really sad that someone think that this way of photographing people in normal.

Exercise 5: Read the booklet ‘Imaging Famine’

Core resources: imagingFamine.pdf.

Do some research across printed and online media and find examples that either illustrates or challenge the issues highlighted in the document. Add your findings to your learning log.

I found an interesting detail in this article that showing famine pictures in the press has negative aspects too. Africa became continent of Famine, this is how western people imaging this.

This type of photographic project do not le those African people to have dignity, they are photographed in those kind of situations where they are not able, to say know. In my option photographers use this power over them.

I agree that is hard to tell the story keeping their dignity. But we have to look at the ethical side; they are alive and have feelings, begging for the help.

I am really glad than in 1980 Oxfam decided not to use this kind of photographs in their fund raising campaigns. In order to save people’s dignity, most importantly mother and kids.

There is another truth for this fundraising campaign, that Oxfam would not raise so much money, if they would use different images. Empathy is strong tool playing of people’s feeling.

This raises a question again, what is documentary photography? Newspapers, journals and television are the main market for those photographs. Photographer does not decided which images should be published this is done by editors and directors. So we see images that will increase number or reader or watched, but not the ones which photographer picked us to see. So the statement what we see is truth is not necessary correct.

My opinion about aesthetics and images of famine is very negative, Being the mum for 2 years old and seeing those children suffering, stops me form thinking about aesthetics qualities. There is a right time and place to demonstrate ascetics qualities, photos of famine is definitely not the one.

I researched some images that have signs of aesthetics:

Source: https://iconicphotos.wordpress.com/tag/famine/

Source: http://blogs.denverpost.com/captured/2011/08/03/captured-somalia-famine/4538/


I found an interesting essay on famine:


An interesting interview based on aesthetics and famine:


There is an interesting interview with David Campbell and John Levy considering if famine images has place for aesthetics. There are many different opinions however some of them raises very important questions such as why photographers creates images where is clearly seen result of the issues, but not the issue itself? The problem is not famine, problem is in power and structure of those countries, there is plenty of food there, but people still die there. Campbell blames photographers for not showing real situation to viewer. This opinion been compared to situation of blaming blog post creator for the comments on his work.

Another interesting pint covers aesthetics, David Campbell proves that some images has aesthetics in themselves, some subjects are photograph many times, to achieve the best looking image with right composition and beauty.

In my opinion the important parts of this essay covers the understanding of aesthetics, if you understand aesthetics as a beauty of something very neat, there is no chance seeing those signs in famine photographs. However if you understand aesthetics as good composition and the best possible camera settings used there are chances you find quite few images like this.

Exercise 6: Read the, WeAreOca blog post the ethics and aesthetics, (http://www.weareoca.com/photography/the-ethics-of -aesthetics/) including all the replies to it, and write a comment both on the blog page and in your blog. Make sure that you visit all the links on the blog post.

Alejandro Chaskelberg work proves us totally different seeing, understanding and believing of photographed images. This kind of way saves people dignity and seems like those colours makes situation look better. Also looking through those images I feel like those people are closer to us than previous images based on famine, it seems more western. Could it be the case that photographers want to distract viewer form real situation, using his technical abilities? Or create situation better as he wished that situation would be better there. It can also be the case when press needed new and unpublished view on famine? I do understand the real word for aesthetics in famine photographs now, as Chaskelberg proved us this very well.

Exercise 7: Read Claire Cozens’ Guardian article about Guerrero’s photograph:




What would you have done had you been the editor of a British broadsheet newspaper?


A similar case revolving around photograph of a dead Iraki soldier in the Gulf War prompted Michael Ignatieff, the author of Magnum degrees, to write and reflect on the ethics of photojournalism. Read ‘But Should You Print It?


Core resources: ShouldYourPrint.pdf


I guess aesthetics is important when we are talking about press, there are many people reading this newspaper, so editor did not want them to get sick seeing this photograph, we also have to think about children, newspaper is available to them as well.

I think it was very difficult decision for editor, as altering images means he changes real facts and information.

If I would be an editor I would probably leave this article without any image, as there another question is raised, about privacy of those injured people and their families.

In my opinion all photographs containing violence, terrorism, dead people and car crashes is not for publishing. However the contest and idea of those kind of images are very important too, as there is an examples such as images of atomic bomb tests in the American south-west, bodies of the Jews murdered by Nazis, as those images made our history is written in the book for schools and universities, there is only one way to create right impression, by using those images. I think every image has to have it own purpose and meaning, and if it has one and it is shown in right light, it can be published.

Exercise 8: Read the two essays in the BPB 2008 programme and look at the work of the curator selected for the exhibition.


Core resources: BPB2008.pdf


Write a short press release of around 250 words in your learning log – in your own words.

Brighton Photo Bennial’ s 2008 programmer ‘’Memory of Fire: the War of images and Images of War’’ introduces us with and goes into more details how war photographers changed during the time. There are listed thirty-five war photographers wit examples of their work. In this case some of those photographers are artistists photojournalists or even amateur photographers. Those visual examples help us to see more details, elements of war photography and aesthetic side of those works.

The writer of those essays – Julian Stallabrass , his biggest fear that commercial side of the war images would destroy the real idea and understanding of the war situation. Many photographers staging or altering with digital manipulation images by this way they loose their truthful understandings and ideas. The worst case that reader doesn’t believe the photographs in press anymore, as it is very hard to understand where is right or wrong information. We all know that press is using their articles and photographs to attract more readers, in this case it may be false or altered information used.

In my opinion documentary photography is losing it meaning, as the main point is to inform readers, create a document, which can be used in the future.

However there is a problem of power and structure there, photographers do not decide what images have to be published, press does. After all photographer is powerless…

Exercise 9: Browse the catalogue Tribal Portraits: Vintage and Contemporary Photographs from the African Continent, Bernard J Shapero Rare Books.


Core resources: TribalPortraits.pdf


Write a brief reflective commentary in your learning log.

The catalogue contains around 200 –photographs, taken from 1830 until now.

Many famous photographers are included in this catalogue such as Seydou Keita, Leni Riefenstahl and Irving Penn.

This catalogue is a perfect example how hunger and poor living conditions do not get in the way of demonstrating tribal’ life, unique rite and clothes. Also there is a strong sign of photography possibilities growing during that time.

I fell that from all photographers George Rogers stands out. His images perfectly reflect uniqueness of each tribal. Strong compositions together with honesty and simplicity cover many traditional tribal routines and rites. All his images are in motion; this may be a key for his success.

This exercise helped me to understand that idea of photographic project is very important, as one situation can be interpretive in different ways, problems and solution, photographers has a huge power to decide what has to be shown and why to the public.

Research Point: Do your own research into the bodies of work discussed in this project. Can you find any examples of work carried out amongst indigenous peoples that, in your view, honesty document the lives of their subjects without falling into some of the traps that we’ve been discussing here? If so, how has the photographer achieved this?

Peter Lavery Of Humankind




Peter Lavery produced some images of different ethnic groups, however he decided to detached people form their surroundings. In my opinion images lost their connection with the environment, also it lost their power of showing uniqueness of each ethic group, the all look the same in black background.


David Bruce San



Same static images, on the background, those images kind of asking for more information. I find it quite confusing, those portraits are here to introduce us with ethic groups, but at the same their background is in the secret.


Edvard S Curtis Nootka Women




Very similar portraits to David Bruce’, however those been photographed 100 years earlier. I think we can produce better images with more context and narrative.


Juan Echeverria Himba of Namibia




There is uncomfortable to look at those nude women when they are detached form their surroundings, it hard to understand who those women are and why they are nude in front of the viewer, also what is the main idea of those photographs.



Alvaro Leyva Indigenous people in the Amazon Basin


Could not find any information about those images. Website http://www.alvaroleiva.com/index.php?ctrl=section&action=view&id=2 does not contain those images.