Sources and Methods #13: Paul Clammer

 
 

Paul Clammer 101:

Paul Clammer's website/blog

Paul on Twitter

Paul on Facebook

Paul's Haiti Travel Guide (Facebook site and Amazon)

Lonely Planet Guide to Afghanistan

Show notes:

Kabul Caravan - backpacking in Afghanistan immediately after the Taliban’s ouster in 2001

Lonely Planet realized they hadn’t had an updated version of their Afghanistan book since 1978 and was curious about an updated version.

4:47 - Fundamentally, the research tools that you use are the same, whether you're writing a guidebook about Afghanistan or San Francisco. The main difference I find is whether you’re writing a guidebook from scratch.

7:41 - When you’re writing a new book, Google isn’t all that helpful. It’s asking a whole lot of questions of a whole lot of people when you’re there, on the ground.

9:10 - With LP, we also get a lot of feedback from readers. When you read the book you often think the travel writer has gone out and discovered these new places but often I find that when you’re actually in the field, you’ often trying to catch up with what the travelers are doing this second. And of course you’re balancing this with what can be found online instantaneously.

Chief Burger in Kabul

10:43 - I find Open Street Maps the most effective tool, more than Google Maps, I find those are often the most up to date. With that, the notebook I carry with me is always full of these little sketches, that’s the hotel, that’s the intersection.

12:17 - It’s absolutely essential that you think about the people who will be using your product at the end of it.

16:17 - [Guidebooks] are really about the process of demystifying travel...it’s about providing a toolkit that people can go out and understand, and enjoy themselves doing it.

17:09 - Travel can be a force for good in understanding the world.

18:56 - For me, the best to use a guidebook is to read it in the morning, workout roughly what you want to do, and then put it down and go out and explore.

20:42 - Put down the smartphone (as you travel) and look up.

25:31 - Travel is one of the biggest industries in the world, if not the biggest industry...I think you can go to the most obscure places in the world and you’ll find people traveling there for whatever reasons.

26:01 - Even if a country isn’t ready for tourism, it can still be useful for people going there for work.

29:34 - On a personal level, [I love writing guidebooks because] it allows me to talk with lots of interesting people - museum curators, journalists, activists, artists, ngo workers, and I find that fascinating and feel very lucky to be able to do that.

31:34 - There’s definitely a list of cliches you need to avoid - like ‘the land of contrasts’ but it can be hard when you have 200 hotel reviews to write. That’s one of the biggest challenges - to not repeat yourself.

38:42 - As with so many industries, the Internet has been an incredibly disrupting force… and I do think it’s a major challenge...many people are working on integrating more up to date content with print materials.

But I do think it’s kind of information overload, so guidebooks can work as cultivators of this information, so you can trust what you read there.

40:01 - Tripadvisor.com

42:23 - (On how the industry is changing) When I started doing guidebooks, it was very much I would write a chapter in a Word document, send that. Now I write them in a content management system, so those reviews...can be plucked out (into other mechanisms).

41:10 - I actually use the same booking websites as a lot of other people - Skyscanner.net etc… Twitter is an excellent tool when you’re going somewhere, following hashtags on topics. Following bloggers is also… a really great tool.

44:44 - Most practical tip: take a lot less stuff than you think you need, ideally you can get everything in your carryon luggage.

46:27 - I still find that the easiest way doing research on the ground is the notebook in the pocket.

54:08 - (Advice to aspiring travel writers) - It’s essential that you read as much as you can...so really, read as much as you can, because travel writing has its own set of cliches that we were talking about. And then it’s a case of setting yourself writing exercises...It’s really a case of getting yourself out there… and write and put yourself out there and get feedback and keep going.

Paul’s picks:

Book: Create Dangerously: The Immigrant Artist at Work

Film: 20,000 Days on Earth (Trailer)

Paul’s Song: I Pity The Country by Willie Dunn

Matt’s Pick: How Children Succeed by Paul Tough

Alex’s Pick: Toki Pona, a language of 120 words.

Memrise Toki Pona course

"What happened when I tried to learn Toki Pona in 48 hours using memes" (The Guardian)

"Lessons from two days of Toki Pona" (Memrise Blog)

"Toki Pona - A personal learning adventure" (Memrise blog)

Sources and Methods #12: Louie Palu

 
palu_headshot.jpg
 

Suzanne Schroder's blog

Suzanne Schroder on Twitter

Louie Palu 101:

Louie's website

Louie on Twitter

"Four Burning Questions for Louie Palu, photojournalist"
 
"Louie Palu Talks Global Conflict"
 
"Louie Palu: The Art of War"
 
"Dangerous exposure: Photojournalist Louie Palu on working in conflict zones"
 
"“Photographs Are There To Empower You”: Louie Palu Talks Mexico, The Drug War And Photography"

"Kandahar Journals"

"Portrait of an Artist: Louie Palu"

"Prison Photography: Louie Palu"

Show Notes:

2:45 - British photographer Don McCullin inspired me to become a photographer, saw his work and photographs, and immediately connected with it.

4:55 - Freelancing was exhilarating at the start, taking a photograph and then seeing it in paper’s the next day, but I knew quickly I wanted to work on long term projects.

5:32 - First major project were the mines in Northern Quebec and Ontario.

6:20 - I don’t usually get commissioned to do work, I do my own projects and then try to publish them. Eventually got hired at the Globe and Mail.

7:02 - Why do I cover war? I used to say because it was important, and of course it is. But really, there’s nothing personal in that answer, and it didn’t satisfy me. What I realized was that it all connected to my parents, to my roots. My dad's friend was thrown in a POW camp during WWII serving in the Italian Army, and he used to have to fight for food, literally competing with dogs. And that story really stuck with me, as I grew up with these stories, and it really has informed my work.

9:34 - The first conflict I covered was in Kandahar. I was a Canadian, and I heard we were about to start a combat mission there, and I wanted to document it, to start one of my long term projects. It wasn’t just a historical / patriotic thing, it was ‘what’s happening with this country, and our country.’

11:02 - My photography in Afghanistan wasn’t about Italian, or Canadian, or even Afghan, but it was about a human experience.

14:03 - Kandahar has astonishing history, so much to document.

17:01 - I wanted to avoid being a photographer who followed the shooting, or ‘bang bang’ as photographers call it. Did lots of researcher, and really tried to figure out how I could physically get where things were happening, and fill in the holes in the embedding system.

27:00 - Absurdity and war certainly go hand and hand.

31:49 - How to prepare for heading out in Kandahar? Basic respect and researching about everybody in that place as much as possible, and learning about the small things. Everyone wants to learn about the big things, but it’s really the small things.

33:10 - The Taliban don’t want to destroy Afghanistan, they want it to cohere. Afghanistan has always been a weak state but a strong nation.

35:03 - I think it’s important to see war from all sides. Only until you reach inside yourself and understand your own humanity is inhumanity revealed. Until you understand that, you’ll never get it.

52:02 - War is never straight forward, many people think that. It’s a lot of shades of grey. I think the important thing is training - and a lot of journalists went to Afghanistan but they were inexperienced, and this showed. Neutral and objective reporting wasn’t always there. It’s about looking at everybody as an individual.

54:25 - Palu’s Garmsir Marine Portraits. And his Concept Newspaper.

56:15 - I’ve covered the Mexican Drug War, and nobody wants to believe how violent that place is. 100,000 dead since 2006 - it’s like a little Syria with a functioning economy.

1:10:20 - One of my favorite photographs from Guantanamo doesn’t have to do with the detainees - I really started thinking about the environment of this place, and took a picture of a chair. It’s just a chair. But you don’t need to see any more to understand that something probably not that great happened there, and I thought it was really powerful.

1:17:13 - The big next project: Kandahar Journals, from 2009 and 2010 when I was in Kandahar. And I’ve been working on a story to go underneath all the stories and writing and photographs from my time there. It’s also about Kandahar being this forgotten front in the war as well. Working on a book as well. I’m also working on publishing parts of my archive and make it more accessible to the public.

Sources and Methods #11: Molly Crabapple

Molly Crabapple 101:

Molly’s website

"15 rules for creative success in the Internet age" - BoingBoing

 

Show Notes:

3:50 - I’d describe my work mainly as anti-authoritarianism.

5:02 - When I was an 11 year old, I would draw pictures of the cool kids so they wouldn’t beat me up - using art to curry favor, it’s the oldest artist trade.

7:02 - I’ve always drawn the world in front of me, and people always respond to that.

9:10 - Drawings can be as accurate as photos, and in some ways they can be more transparent than photos. Photos have a pretense of truth even though we all know they can be manipulated and photos lie. There’s this idea that if there’s something in a photo, it tells the truth. With drawings, the creator’s subjectivity is front and center.

9:44 - Molly’s writing on Occupy Wall Street on CNN

13:23 - I always say that artists are the most spoiled people on earth - we get to mash together all these genres and get away by saying ‘I’m an artist, dammit’ when people respond to it.

16:01 - Molly’s sketches from Guantanamo: The Faces of Guantanamo in The Daily Beast

23:09 - Photos lie in two ways: by taking a photo of one thing and saying it’s another, or else by taking photos out of context.

31:05 - I think that being able to draw, it gives you permission to look in a way that’s socially unacceptable in most places. When I draw and I’m staring, I realize I look like a creep, but I get to say it’s ok, I’m an artist?

31:26 - Drawing is: Physically reproducing reality.

32:26 - Biggest advice to artists: total stubbornness. Be incredibly true to your work. And look in a sharp way at people making money off of artists, or people on the business end of your field - and if there are popular beliefs that are exclusively to your detriment...examine them.

Artists Molly Follows:

Ganzeer

Waseem Al Marzouki

Photographer Clayton Cubitt

36:17 - Molly’s Tools:

In areas where time is of the essence, I use fat gray markers and tiny little micron pens to sketch things down fast fast fast - used this in guantanamo and also in courtroom drawings.

In locations where I have more time, I take iPhone photos, and then examine them later, and focus on the scenes or details in them that I want to bring out - this is how I did my work in Abu Dhabi.

Molly’s Books:

Fiction - A Naked Singularity by De La Pava

Non-Fiction - The Seasons of Trouble: Life Amid the Ruins of Sri Lanka’s Civil War by Rohini Mohan

Molly’s Film: Exit Through the Gift Shop

Molly’s Music: Mashrou’ Leila