Social Sunday：別讓你的Instagram只剩下虛假的花花世界，值得追蹤的攝影帳號

HF Crewon October 8, 2017 at 12:00 am

相信社交平台現已成為其中一項生活的必需品，Hf亦不例外，用戶可透過社交平台自由發揮，我們亦可發掘到很多特別的人、事和物……

攝影記者把他們所見的記下來，讓地球上每一個可能被忽略的角落呈現於人們的眼前。他們鏡頭下的世界，不一定只有貧窮和悲傷，那裡還有人民單純的情感和獨特的風景；或者在網絡這個充滿假象的地方，攝影記者的作品可說是對這個世界比較真摯的記錄。

@benlowy

Benjamin Lowy是一個來自美國的戰地攝影師，畢業後被指派到伊拉克拍攝戰地照片。他是其中一個提倡使用智能電話拍照的人；2012年時代雜誌便採用了他用iPhone 拍的颶風桑迪作為封面。比起單單按下快門，Lowy更希望把新聞報導和藝術融合起來，利用自己的照片引起大眾對戰爭的注意，同時發掘世界美好的一面。

New York City, NY | November 13, 2016 Love Trumps Hate. Protests continue around the US. While Donald Trump is legally the President Elect, we can not ignore the growing and intensifying racist incidents happening across the country. It is our duty as Americans to give voice to our beliefs, to fight for our rights. It is one of the founding principles of the UsofA. #election2016 #donaldtrump #protest #lovetrumpshate
A post shared by Benjamin Lowy (@benlowy) on Nov 15, 2016 at 9:01am PST

Havana, Cuba | June 2016 Like a lot of photographers – I’ve been to Cuba. Briefly. I was there to photograph sharks in the Jardines, and didn’t spent more then several days on land. What I found – superficially – was a land stuck between to eras. A nostalgic sea worn facade crumbling into beauty and an eager drive for modernity. People will always debate Castro. People danced in the streets when Bin Laden was killed and equally some of the same people wear Che Guevara t-shirts. One man’s hero is another’s villain. History will judge us all. #mytwocents #photojournalism #reportage #onassignment
A post shared by Benjamin Lowy (@benlowy) on Nov 28, 2016 at 6:09am PST

New York City, NY | August 10, 2017 Back to seeing light. #nyc #streetphotography #documentary #shadowandlight
A post shared by Benjamin Lowy (@benlowy) on Aug 11, 2017 at 5:47am PDT

Paris, France | August 23, 2017 Freestyle wrestler Hafize Sahin of Turkey, 59kg. I’m back in Paris at the @unitedworldwrestling World Championships working on my portraits of wrestlers after competition. All my lighting – some awesome Luxli smart LED lights were supplied by @bhphoto #busted #sportsphotography #portrait #wrestling #lutte2017
A post shared by Benjamin Lowy (@benlowy) on Aug 24, 2017 at 1:43pm PDT

Manjuyod Sand Bar, Philippines | August 18, 2016 KK talks his way into steering our outrigger back to port after an epic day snorkeling and shooting video on the sandbar with @bonetiredmama and @lakbayharaya #Philippines #itsmorefuninthephilippines #family #portrait #thingsiletmykidsdo
A post shared by Benjamin Lowy (@benlowy) on Aug 19, 2016 at 12:27am PDT

@michaelchristopherbrown

為了進入動亂的地區，紀錄利比亞的戰地情況，Michael Christopher Brown曾經因此受傷，但他也堅持繼續拍攝受戰爭蹂躪的人民日復一日的生活。從剛果到古巴，他的足跡遍佈世界。在他的照片中，我們看見了切切實實的生活，看見了傷痛，卻也看見了愛。

LIBYA. AJDABIYA. At a checkpoint. From the 2016 book, “Libyan Sugar,” of phone images taken during the Libyan Revolution. Book is 7×10 inches and features 284 four-color plates and various texts within 412 pages. To order see link in profile #libyansugar #libya #libyanrevolution
A post shared by @michaelchristopherbrown on Apr 12, 2016 at 4:18pm PDT

a family watched the last of fidel’s convoy pass in the countryside of camaguey. from the series and in-progress book “yo soy fidel”, la caravana de tributo a fidel 2016
A post shared by @michaelchristopherbrown on Mar 17, 2017 at 9:26am PDT

A post shared by @michaelchristopherbrown on Jan 8, 2017 at 2:45pm PST

house given to a sugar worker after the revolution #fidel #holguin
A post shared by @michaelchristopherbrown on Jun 1, 2015 at 5:26am PDT

Waiting for a schoolbus in Shandong Province, China. iPhone.
A post shared by @michaelchristopherbrown on Jan 18, 2016 at 1:08pm PST

mon ami mama harriet #inprogress #southkivu #congo #rdc
A post shared by @michaelchristopherbrown on Feb 10, 2014 at 2:55pm PST

@randyolson

與妻子Melissa Farlow一起合作，Randy Olson是The Photo Society的創立人，他們過去20年踏足了50多個國家，為《國家地理》雜誌走訪世界中每個人的故事；他們也曾在LIFE、GEO和Smithsonian等雜誌發表作品。

Photo: @randyolson -There are only dirt roads through this area, but a paved highway is being built (you can see it to the right in this photograph). The roads right now are being used as the biggest sidewalk in the world. But kids are already practicing for handouts for all the cars these roads will bring. They stand in groups with hand made stilts and body paint waiting for the one or two cars that will come thru on the track next to the new road to get a few pennies from tourists. @natgeo @thephotosociety #omovalley #etheopia #latergram #africa
A post shared by Randy Olson (@randyolson) on Mar 15, 2013 at 10:12am PDT

words by @neilshea13 — After days of dust and travel you will arrive here, to the crossing place. You will feel compelled to choose, but you cannot wade across: the water is too deep. And you should not swim: there are too many crocs. Please also do not leave your baggage, for we promise it will vanish before your return. So, what will you do? If you have been around a little while, you understand the joke. There is the boat, or nothing. No one remembers how it got here; possibly an Italian came this far up the Omo and abandoned it. Or a Belgian went downriver and then one night disappeared into the bush. Whatever, the boat is old and unreliable. Some days it runs, some days it doesn’t, one day it’s here and the next it’s gone. We recommend that you don’t bother crossing. Drive on as far as you can, or, better, start walking. You will encounter great oxbows that swallow half a day’s journey, and enormous mosquitoes and herds of wary cattle armed with great horns to fend off lions. This photograph is our way of telling you that really it doesn’t matter which side you’re on. Consider the message of geometry—the frond in the boy’s hand, the wake of the boat behind him. Coming or going, upriver or down, patterns calmly repeating. When the boy asks what you are doing here, tell him you just wanted to see if what you’d heard was true. — Water. It runs through all of our work. In every story, every photograph, water is present—or by its absence still leaves a mark. This series is an exploration of ideas and places that are connected by water, and the ways our lives, memories and work have been shaped by it. Join us @randyolson & @neilshea13 for the journey. — #ethiopia #omoriver #suri #mursi #nyangatom #kara #africaslastfrontier #crossings #rivercrossing #geometry #rivers #borders #portraits #wetseason #watershedstories #adryseason @natgeocreative @thephotosociety
A post shared by Randy Olson (@randyolson) on Aug 10, 2017 at 6:56am PDT

words by @neilshea13 — A mango, unripe and tasted. The young hands gently crossed. A wound on her leg just above the ankle. The girl is weightless and slow over the river and in the distance golden light falls through evening cloud. Suffering, hope, beauty, redemption—all the elements of a strong story are there and your brain is busy stacking them up. Even her dress, with its ragged hem and church-print chasteness, is telling. What does it tell? She is a refugee from Sudan made homeless by war. Many of the people she once knew are dead, and ahead lies a difficult journey. Night draws near. Unfamiliar voices will crowd the new darkness. She will be searching a long time, and there is no reason to think anyone is waiting. Perhaps this is not the explanation you expected but none of this should feel so very far away. Keep in mind that somewhere along the path her story and yours are the same. — Water. It runs through all of our work. In every story, every photo photograph, water is present—or by its absence still leaves a mark. This series is an exploration of ideas and places that are connected by water, and the ways our lives, memories and work have been shaped by it. Join us @randyolson & @neilshea13 for the journey. — #sudan #civilwar #refugees #christians #muslims #rivers #borders #portraits #god #womenandwater #wetseason #watershedstories #adryseason @thephotosociety @natgeocreative @natgeo
A post shared by Randy Olson (@randyolson) on Aug 9, 2017 at 7:00am PDT

photo by @randyolson | words by @neilshea13 — In every large family there is a child who could eat forever. My parents say it was the third of us, tall and hollow, a silo, a swimmer, a locust who daily raked the shelves. I recognized in her that same hunger, saw the sweeping hungry gaze. In the village there was celebration that week, endless rounds of song and dance, and many times I saw her peel from the girl-crowd, with their cowrie belts and clay-dressed cornrows, to go for milk. Sometimes she was sent, must have been—given the pitcher by her mother or aunt, ordered out to fetch. But more often she came empty-handed. In this place where milk is often saved for boys and men she’d pick a sharp-shouldered house cow, swat its rump and bend to work. Pressing her head to the rough gray flank she’d slide a hand to the teat and squeeze a thin stream into her palm. Handful after handful she’d cuff down hot milk, the cow chewing, not looking, never minding, an old deal firm between them. Once she offered up the pitcher, flies and froth and all, but I balked. Felt frail. She shrugged, drank, then went for more, her hair painting red clay streaks on that patient mother’s hip. These Instagram pieces are part of our ongoing project, #NGwatershedstories, and they’re linked to our feature article on Kenya’s Lake Turkana in the August issue of @natgeo magazine. For the last six years, we’ve been documenting culture, change, and conflict in the ecosystem that connects southern Ethiopia and northern Kenya, and we hope you’ll join us @randyolson and @neilshea13 as we follow water down the desert. #2014 #africa #kenya #laketurkana #jadesea #daasanach #cow #milk #food #hunger #documentary #reportage #everydayafrica #everydayeverywhere @thephotosociety @geneticislands
A post shared by Randy Olson (@randyolson) on Aug 13, 2015 at 5:31am PDT

photo by @randyolson | words by @neilshea13 — Boys, it won’t be long. The fields are full, the cattle grown fat. Rain has come and gone. In the village old women are singing. Stamping their feet. You can hear the drums and whistles. Songs of bulls and hunting. There is nothing better in the world than to live here, in Duss, where your grandfathers and mothers are buried in the floors of the houses, kept close so they might protect you. A big ceremony is coming. You don’t know exactly what it means but still it is very exciting. All the young men will become warriors of the Kara tribe. They will jump over the backs of great bulls. Their heads will be shaved and their ears cut, the lobes notched with small half-moons. A bit of blood to mark the passage. After that, days of dancing. Feasting. Everyone will get drunk on sorghum beer. The young men will be transformed into elders and allowed at last to sit in the meeting house above the Omo. They will marry, have children of their own, gather herds of their own. They will be ready to speak and listen. It may take months before this is finished. If war interrupts, or drought or raids, it may take years. A lifetime. The river slipping past. Floods rising, falling. Your fathers tell you not to worry. The rules of manhood are complicated and no one knows them all. For now the desert is an enormous room and anyone who can must run and laugh and learn his own way through. Not far away you can hear the old women singing. One day they will sing for you. For the last six years, Randy Olson and I have been documenting change, conflict, and culture in the watershed that connects southern Ethiopia and northern Kenya. This week, we’ll publish in @natgeo magazine the latest in our series, #NGwatershedstories. Join us at @randyolson and @neilshea13 as we follow water through the desert. #2009 #africa #ethiopia #omoriver #kara #manhood #tradition #ceremony #rivers #conservation @geneticislands #documentary #instajournalism #instaessay #takenotes #natgeo @thephotosociety @natgeocreative
A post shared by Randy Olson (@randyolson) on Jul 15, 2015 at 2:58pm PDT

@philmoorephoto

Phil Moore的作品既美麗也可怕，他是專門拍攝東非的自由身攝影師。當他進入衝突地區，他就捕捉軍人們的困境和傷者的慘況，但在其他時間，他還是會拍下能幸運地逃離戰爭和種族問題的人們，呈現那些得來不易的快樂。

Thousands of people in #SouthSudan live behind #razorwire fences, in enclaves carved out on the edge of #UN bases, having fled the #conflict that is ravaging the country. A year ago, #Wau was hit by the fighting and the cycle of #displacement and camps saw its latest incarnation. My latest photo essay exploring the life in these camps was published today on the @aljazeera website—linked from my website, in the bio. #conflict #washing #refugees
A post shared by Phil Hatcher-Moore (@philmoorephoto) on Jul 3, 2017 at 10:04am PDT

“Kadida wears #PaulFrank and #LouisVuitton.” #Fashion in the village of Aburoc, a remote village in #SouthSudan, where thousands have arrived for aid after displacement caused by #conflict here. Originally from north of the border, Kadida and other members of the #Fulani—a semi-nomadic pastoralist group scattered across sub-Saharan Africa—spend much of the dry season over in South Sudan.
A post shared by Phil Hatcher-Moore (@philmoorephoto) on May 22, 2017 at 10:08pm PDT

Several thousand people have arrived in the small village of Aburoc in the north of #SouthSudan, fleeing fighting between government forces and rebels. For many, this is not the first time they have been #displaced; but another stop on a road of uncertainty. They arrive with only what they can carry: a cooking pot, a jerry can, a sleeping mat. Camping out beside the dry river bed that runs through the village, many have no shelter other than the spindly leaves of trees. #conflict #refugees
A post shared by Phil Hatcher-Moore (@philmoorephoto) on May 19, 2017 at 12:06am PDT

Nyaluak sits under a #mosquito net after giving birth to a baby girl in this #maternity ward the previous night at midnight. This #clinic sees around 100 births a month in what’s called the “Protection of Civilians” site in #Bentiu, #SouthSudan, where more than 120,000 people live after fleeing their homes in the violence that has torn apart the country. Nearly two million people are displaced within the country, with around 1.75 million having fled to neighbouring countries. #conflict @unicef @unicefssudan
A post shared by Phil Hatcher-Moore (@philmoorephoto) on May 3, 2017 at 3:00am PDT

No hoop? No problem. A kid’s gotta play. #Children in a camp for people who fled violence in #Bor, #SouthSudan. Or, in #UN jargon, internally displaced persons in a Protection of Civilians site. The camp here, where people rely on the UN and #aid charities for everything, from food & water to shelters & cooking pots, is home to around 3500 people, just over a third of whom are children. #basketball #conflict @unicef @unicefssudan
A post shared by Phil Hatcher-Moore (@philmoorephoto) on Mar 20, 2017 at 10:28pm PDT

@marcusbleasdale

同樣為《國家地現》雜誌拍攝的Marcus Bleasdale，過去的18年來關注著人權問題，用鏡頭訴說難民們和兒童軍人的故事，他踏足過剛果、索馬里、利比里亞和達爾富爾等地。

The mother of Eliam Fedangaré, 24, celebrates as he arrives home with his father, Jean Fedangaré. Father and son were abducted by Seleka fighters but managed to escape during an attack. Human Rights Watch’s research on Central African Republic helped propel deployment of peacekeepers by the UN Security Council in September 2014. IMPACT is an exhibition focusing on the collaboration between photography and advocacy. @humanrightswatch has been using photography for many years to increase the power of the message and increase the IMPACT of the work of the researchers in the field. This collaboration has led to some extraordinary results and we would like to celebrate those achievements in this exhibition at #Christies in London this week @thephotographersgallery @natgeo #humanrightshumanwrongs
A post shared by marcus bleasdale (@marcusbleasdale) on Feb 8, 2015 at 12:41am PST

Displaced people bring back water to their camp in Goma after fleeing fighting in Karuba and Mushake. Fighting rages between government forces and rebels in Karuba, North Kivu province. (2008)⠀
A post shared by marcus bleasdale (@marcusbleasdale) on Aug 21, 2017 at 4:08am PDT

The final prayers at the burial of the eight-month-old Sakura Lisi, the daughter of a gold miner in Mongbwalu, northeastern Congo. 2004⠀
A post shared by marcus bleasdale (@marcusbleasdale) on Aug 30, 2017 at 3:41am PDT

Over the next few weeks I will be posting images from the body of work I produced over 10 years in Congo to highlight and inform my followers of the desperate situation in the Democratic Republic of Congo. One which is still not well covered in the mainstream media. Soldiers of the UPC militia wait for orders in Bule, northeastern Congo. 2003⠀⠀
A post shared by marcus bleasdale (@marcusbleasdale) on Aug 14, 2017 at 1:27am PDT

IMPACT is an exhibition focusing on the collaboration between photography and advocacy. @humanrightswatch has been using photography for many years to increase the power of the message and increase the IMPACT of the work of the researchers in the field. This collaboration has led to some extraordinary results and we would like to celebrate those achievements this week together with @thephotographersgallery and #Christies #London #picoftheday #hrwimpact A street boy enjoys a shower at a center for street children in Kinshasa. This image was used in the 2006 Human Rights Watch report What future? Street Children in the Democratic Republic of Congo.
A post shared by marcus bleasdale (@marcusbleasdale) on Feb 1, 2015 at 11:35pm PST

Cover image via Instagram/ michaelchristopherbrown, by Michael Christopher Brown