Youssef Rakha: Revolution’s Residue

I had my camera when I went out to demonstrate on Friday, January 28, the climax of the Egyptian revolution (January 25-February 11, 2011). I was on the streets for over twelve hours but I took only two pictures; they were to sit for years on my hard drive, unedited and undisplayed: my only trophies from the revolution. Unlike the majority of “Arab Spring revolutionaries”, from the moment Tahrir Square was occupied in the small hours of Saturday, January 29 and until the long-time president Hosni Mubarak stepped down, I felt that I couldn’t photograph and protest at the same time, that to be photographing would render my presence in the protests insincere and that the protests were about more important things than photography.

At the same time the figures and the faces that I saw daily in and around the protests, and which belonged to both “revolutionaries” and “counterrevolutionaries”, imprinted themselves on my mind more forcefully than ever before: sullen and despairing men, slim women in high heels and children everywhere.

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Ahmed Almunirawi’s Tunisian Portraits

It can happen that I am observed without knowing it, and again I cannot speak of this experience, since I have determined to be guided by the consciousness of my feelings. But very often (too often, to my taste) I have been photographed and knew it. Now, once I feel myself observed by the lens, everything changes: I constitute myself in the process of ‘posing,’ I instantaneously make another body for myself, I transform myself in advance into an image. This transformation is an active one: I feel that the Photograph creates my body or mortifies it, according to its caprice…

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Always a Place for the Still Frame: David Degner on Practice, Vision, and the Future of Photojournalism

David Degner is a Cairo-based freelance photographer represented by Getty Reportage and the co-editor of the Egyptian photo story magazine, Panorama by Mada Masr

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In an age when video journalism is increasinly paramount and printing is arguably no longer necessary, how do you feel the still image is still pertinent to documentary or news work?

Video journalism serves its purpose and is growing as it is easier to create and distribute, but photos haven’t lost their power in this new environment. A single strong image can be viewed and summarize a situation in seconds. In our fast paced world there will always be a place for the still frame.

Do you think documentary and art photography are important for the development of photo journalism? Is there enough of that going on in Egypt (with the Cairo Image Collective, for example) to create a photographic culture?

As a photojournalist I often steal style from art and commercial photography.  We must be aware of their modern visual language in our work to stay relevant and interesting.  But even though the internet has broken down barriers it can be impossible to find many documentary or art photo books in Cairo.  While in the west you can pick up a thick fashion magazine at almost any store and get inspired by the commercial portraiture it takes conscious effort for photographers to suss out inspiration in Egypt.

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