Dith Pran, 1942-2008

One of my former colleagues and friends from the New York Times, staff photographer Dith Pran (shown here, far left, at Michelle McNally's 2004 Christmas party), passed away today. Pran is best known for his real life character in the film The Killing Fields. The Times has an obituary online: http://www.nytimes.com/2008/03/31/nyregion/31dith.html?hp.

Pran was a wonderful and warm man and great to work with. I think he would agree that he wasn't among the best photographers on staff, but he had an excellent work ethic, dedication and came through when you really needed him to produce.

My first thought about Pran when I learned about his death was his reaction when we along with several others from the photo stafff did a "Times Talk," a seminar that the newspaper presented in Washington, DC in 2004. I put together slideshow of the work of several of our photographers who were presenting including Pran. He had been a bit nervous about what I would pull together because some heavy hitters Angel Franco and Chang Lee (also pictured, second right) were presenting projects on the Domican Republic and Iraq. When I met with him to edit his slideshow, he cracked his big smile and gave me a hug after seeing it and asked "Where did you find all of these?" surprised for some reason that he had so many strong pictures. His presentation went well.

On another occasion I asked him if he would speak to underprivileged students that would be visiting The Times to talk about his career and his experiences in Cambodia. He accepted and did a wonderful job. Afterward, he told me that he enjoyed doing that type of thing and that if I ever needed him again, he'd be happy to help out. When I asked him again, he kept his word and eagerly accepted.

A favorite quote of mine is by blues guitarist Otis Rush: ""When I think of how bad things could be, I'm thankful for how good things are." Pran had experienced hell. I always attributed his warmth as a person and his can-do attitude to his realization that he survived what millions did not. He knew that he had a job that was the envy of many and took it very seriously. He inspired me and was the personification of the Otis Rush quote. What Pran went through makes much of what I complain about seem trivial. He will be missed.

Easter Project

My project has stalled since my access became limited. However, I had intended to approach the project in chapters of small essays and picture stories. For instance, I want document their clinic, the baby house and the volunteers. In this short project, which is actually a chapter I covered workers. Arco Iris strives to be self-sufficient and has many of its own specialists such as carpenters, a tailor, teachers, a kitchen staff as well as care givers who they call "tias," or aunts.

Coelhomenino (Bunnyboy)

Charles, 9 months, hung out on the lawn during an Easter egg hunt party here in Maputo. Living abroad, far away from my tightly-knit family, one thing that keeps them from ridiculing my wife and I too much for choosing the lives we have are photographs that I send often. I maintain a photo blog and regularly post photos to Snapfish for them. Nobody seemed to care too much for the decade plus that I was away, but when I married and had children, that all changed. It may seem a bit of a trivial and silly way to use my photo skills to some, but friends and family really stay connected and are quite vocal when there is any lapse in posting new photos of the children.

Portrait

This weekend, I went to one of the islands across from Maputo where a few fishermen stop to empty their nets. In photographing one, he posed with two hands filled with shrimp (which I did not ask him to do), so I shot him.

Photojournalism Workshop

Mozambican photographers look on as I do a critique during a workshop last week (I'm the big beast, second right, with the white shirt). I gave a two-day photojournalism workshop for Mozambican photographers for the United States embassy here. I know some of our group does teaching, but it had been a while since I'd done anything like this. I forgot what a great exercise it is in holding a mirror up to yourself for self-evaluation. It also made me go back and think about a lot that I hadn't really dealt too much with for a while such as the elements of page-design. My second day was partially dedicated to ethics (of which I am a stickler) and we had a good discussion. I'd compare the experience to going to the gym after being on the couch for a few months.

It also made me reflect on our course is helping me; also, how Paul has said that he benefits from working with his students–us. I wanted to mention this because early on several folks her suggested that I give classes. That push had some impact because next on my agenda is to put together a general photography class. Before I went to The New York Times, I was being courted by several newspapers and the A.P. One director of photographer, Nancy Andrews, at the Detroit Free-Press had been talking to me for a while. Nancy's fantastic and someone that I admire as both a photographer and editor (she was a top national photographer at the Washington Post in its hey day before moving to editing).

One thing that Nancy made a point to press into my head early in my editing career was that editing made her a better photographer and that if she went back to shooting that she had no doubt that she'd be much better. I always remember that and think she was right. It certainly changed me, but I wonder is the same true for teaching? I imagine it is.