Shortly after Gary S. Chapman tweeted his photograph of a young Kenyan orphan in desperate need of medical care, donations flowed in, resulting in a total of $3,400 in pledges within 24 hours. Chapman’s savvy use of social media reflects radical changes in humanitarian photography that are amplifying its impact and bearing on society and humanitarian causes.

To better understand the present state of this niche category of photojournalism, Halogen TV spoke with humanitarian photographers Tony Cece, Gary S. Chapman, Rhys Harper, Douglas Klostermann, Bryan Watt and Kasper Nybo about recent innovations and challenges.

A woman and her son take their harvest to market in the fertile farming community located in the mountains of Seguin, Haiti. Photo by Tony Cece

Tony Cece: I still remember the pathetic images I’d seen from years ago of children in Africa who were sad, dirty and covered in flies. While it made me feel sorry for the people, I’ve learned that many of the people I encounter in Third World countries don’t want us to feel sorry for them. Yes, they have physical needs, but they also have rich cultures, strong stories of perseverance and families very similar to mine. I believe we can see the progression of humanitarian photographers in the increased vision that drives our efforts. Our deepened understanding of the world around us, the break down of longstanding stereotypes and the presentation of needs that exist, allows us to be proactive about the stories we are communicating by properly presenting our stories and photos to bring awareness and change adverse circumstances.

“I’ve learned that many of the people I encounter in Third World countries don’t want us to feel sorry for them.”

Gary S. Chapman: Twenty-five years ago there was little interest among photojournalists to do what is now called humanitarian photography. Within the last five to 10 years, with the demise of many photojournalism outlets, photographers have flocked to the open arms of major nonprofits. Socially conscious businesses have proliferated and younger photographers, wanting to do good, have volunteered their time and talent. My personal view is that it is great to volunteer for small groups run by volunteers with no budget or ability to hire a photographer. But, it is not a good idea to volunteer for large organizations that have budgets in place for media. I know of several photographers who lost contracted job opportunities because others volunteered to do the shoots for the experience and without pay.

“It is not a good idea to volunteer for large organizations that have budgets in place for media.”

Rhys Harper: I think photojournalism, even at the amateur or hobbyist level, played a huge role in the uprising earlier this year in Egypt. The media was broadcasting that there were only a few hundred people or so in Tahrir Square, and hugely downplaying the situation. But there were people on the ground photographing, posting pictures on Facebook and Twitter and other social media outlets that gave a more accurate picture of the situation as it was unfolding. Some might not necessarily consider that humanitarian photography, but I think this is one of the ways in which it has evolved. All in all, I think that the biggest evolution of humanitarian photography is not necessarily in the types of images themselves, but rather in who is photographing and how the images are being transmitted and where they are being transmitted. While I think there is still a realm of professional humanitarian photography, I can’t help but see a trend in powerful photographs that have real impact on our society that are coming from not only amateurs or hobbyists but even everyday people who are “non-photographers” capturing monumental moments on point and shoot and cell phone cameras.

“I think photojournalism, even at the amateur or hobbyist level, played a huge role in the uprising earlier this year in Egypt.”

Douglas Klostermann: While humanitarian photography could be considered to be nearly as old as photography itself, beginning with Jacob Riis using photography to help describe the social conditions he was reporting on, it undertook an important transformation in the late 1960s when Cornell Capa defined the “concerned photographer” approach to photojournalism. Numerous photographers incorporated a humanitarian or social documentary point of view into their work throughout the following decades, including Sebastião Salgado and James Nachtwey, but the rise of digital photography and more widespread access to formerly remote places has allowed many more people to pursue and focus on humanitarian photography. And the Internet has provided a means for photographers to effectively present their work to a wide audience, as well as created the need for NGOs to seek out photographers and images for their websites and publications, which demonstrate the work they are carrying out domestically and in developing countries.

“The rise of digital photography and more widespread access to formerly remote places has allowed many more people to pursue and focus on humanitarian photography.”

Bryan Watt: I believe that photographers and the media have become more socially conscientious. This is perhaps a result of the media focusing attention on stories highlighting social injustice. The awareness generated from these stories creates more opportunities for humanitarian work.

“I believe that photographers and the media have become more socially conscientious.”

Kasper Nybo: A big evolution that I see is humanitarian photography now being referred to as an actual genre with deep roots in and still very closely tied to photojournalism. While still reporting, it invites the viewer in to see the deeper relations, connections and effects of what is being reported on. This is a fantastically exciting step forward not only for humanitarian photography but for photojournalism as a whole.

“A big evolution that I see is humanitarian photography now being referred to as an actual genre.”

April 2011, Ishinomaki, Japan. Miho is overlooking her neighborhood and the remains of the houses. A few weeks earlier, these were the streets and gardens where she played with friends. Photo by Kasper Nybo

Cece:  Humanitarian photography is about positively shaping the way that we respond to our fellow humans in need around the world.  We can’t all travel and see the many problems people face, but we are able to connect through the photographs of those who have seen it.

“We can’t all travel and see the many problems people face, but we are able to connect through the photographs.”

Chapman: Every humanitarian photographer, at one time or the other asks himself/herself, “Is my photography really making a difference?” A few months ago, a friend from an orphanage in Kenya emailed me about a desperate need for hospital care and food for some of the children. Photography and social media was key to providing for the needs of those orphans. Regrettably, that money is now gone and we are trying to figure out new ways to get the children the food they need.

“Every humanitarian photographer, at one time or the other asks himself/herself, ‘Is my photography really making a difference?’”

Harper: I think most people are visual to an extent – it’s our nature. We are a visual society. In short, people want to see things, and often, people need to see to believe. In addition to that, there is something about powerful images that just connects to people’s emotional selves.

“People need to see to believe.”

Klostermann: It helps to tell the stories of individuals, in sometimes far-off places, in a direct relatable way. Images portraying these individuals and issues in other places on the globe influence society by making the world smaller and more interconnected.

“Images …. [make] the world smaller and more interconnected.”

Watt: Humanitarian photographers have the opportunity to serve as goodwill ambassadors and diplomats from the countries they come from. Their care, concern and willingness to help can influence public opinion far more than indirect methods. Some Japanese tsunami victims said they felt as if “outsiders” – the media – came and “stepped on their hearts with their shoes on.” This not only reflects poorly on the media but on the “outsiders’” countries.

“Some Japanese tsunami victims said they felt as if ‘outsiders’ – the media – came and ‘stepped on their hearts.’”

Nybo: I believe humanitarian photography shows its strength and impact on society when people hit by conflict, disaster or crisis are being portrayed as human beings – our equals – and not just those people far away that we feel sorry for.

“I believe humanitarian photography shows its strength and impact on society when people hit by conflict, disaster or crisis are being portrayed as human beings – our equals.”

What role does humanitarian photography play in furthering good causes?

Cece: Humanitarian photographers are able to use compelling imagery to move a viewer from complacency to action.

Chapman: I did a story a few years ago about an adult orphan who took in 10 other orphans. She said she was certain that with love and care these orphans could become future pastors and presidents. Our photos helped her get support for raising these future leaders of her country. You can read the entire story on my blog.

Harper: When people are able to relate to other people, I think there is more opportunity for unity and peace in the world. Actually, this is exactly what I am trying to accomplish in my upcoming film Another War. The film is really important to me because I want to show the American people that the Iraqi people are just people, like you and me. They have hopes and dreams and families. They feel joy and pain. We talk about oil, Saddam, George W. Bush, the war and everything else but the one thing we almost never talk about is the Iraqi people and how they are affected on a daily basis. So that’s what we hope to accomplish with this film.

“When people are able to relate to other people, I think there is more opportunity for unity.”

Klostermann: Humanitarian photography provides an effective way for organizations to raise awareness of their efforts and accomplishments. And this increased awareness can help them to connect with others who have the resources to support and further their work and solve the problems they are addressing.

Watt: Humanitarian photography is about becoming involved with the people and their story. It’s about helping these people, not only working for the organization that pays you. Humanitarian photography is more of a privilege, a life – not a job.

“Humanitarian photography is more of a privilege, a life – not a job.”

Nybo: If “good causes” means the work of humanitarian and social organizations, humanitarian photography plays a key and vital role. Humanitarian organizations cannot survive and raise money and awareness by just being goodhearted people with good causes. There is a need for a strong market approach in producing, telling and delivering the strongest messages. One element in this is photography on a higher level than a few snapshots taken from the jeep while bumping down the road.

“There is a need for a strong market approach in producing, telling and delivering the strongest messages.”

Has photography moved you toward compassion?