Hari ni kita tengok gambar-gambar terbaik dari Reuters. Ada 100 keping semuanya, tapi saya uploadkan 10 keping in 1 group. Yang bestnya kali ini, Reuters kongsikan sekali perenggan ayat yang memuatkan pengalaman jurugambar mereka sendiri, setting kamera dan caption (seperti biasa). Mereka menggunakan kamera CANON dan lens serendah 50mm hinggalah yang paling tinggi. Best! Tak puas tengok sekali. Sila klik tajuk post dan melihat seluruh 10 keping gambar dan deskripsinya.
“I headed to the Yuriage district of Natori city in Miyagi prefecture just two days after the March 11 earthquake and tsunami struck northeastern Japan. The tsunami had destroyed buildings and left water everywhere. Smoke still hung over the smoldering ruins. I met Akane Ito amid the rubble as she sat crying on the side of the road, from where she should have been able to see her house. The tsunami had washed away her home together with the memories and her pet, which was family to her.
It is not easy to photograph those in tears, but I took the picture as I felt it represented the sorrow the entire region was experiencing. I feel honored if readers were able to feel part of this sorrow. What I want to be able to do is to allow our readers to see what is taking place in the disaster-hit areas. I also sincerely wish for a swift recovery in the disaster-hit areas.”
Canon EOS 1D Mark III, lens 300mm, f7.1, 1/500, ISO 200
“Reuters photographers in Portugal use an expression when we go out to take pictures of the economic crisis: "trekking and fishing" as they are often long days spent walking with our eyes wide open. The crisis in Portugal is difficult to photograph because there is nothing special happening on the streets. It is a crisis behind closed doors that for the time being the Portuguese live in intimacy. Our work must be subtle. We must always be attentive to looks, gestures or actions which allow us to guess the situation of the protagonists in our pictures. This photo was taken during a day of "trekking and fishing" in the neighborhood of Alfama. I was searching for a photo when I saw a woman talking to another leaning out of the window. In the middle of the conversation the woman in the street raised her arm. That was the picture of crisis.”
Canon EOS 5D, lens 50 mm, f1.8, 1/500, ISO 100
Caption: Two women talk in the Alfama neighborhood in Lisbon April 11, 2011. REUTERS/Rafael Marchante
“We were just passing by an area, not really the front line. We pushed ahead but didn’t see anybody so we came back to a checkpoint, somewhere between Ras Lanuf and Brega. We heard that the rebels had some mercenaries. They ended up in this room and they were talking to us. They didn’t look like mercenaries at all. One moment, they took one of them out and they put him on the ground and they interrogated him. They pointed fingers and a gun at him. I was really confused as I don’t understand the language. They took him away in a car. I don’t believe they killed him, I think they took him to Benghazi. They really didn’t look like mercenaries; just young kids under 20 years old. They were wearing nice shoes and jeans. They looked like immigrants. I guess here they don’t want to say that they are Libyans fighting Libyans. It was a bad moment. This gun was not locked at all. This is one of those situations: do you want to do pictures or do you want to react? I’m a photographer and I don’t want to interfere but at the same time I don’t want this young boy’s head to be blown off. It was really difficult for me to focus on the job.”
Canon Mark IIII, lens 23mm, f6.3, 1/160, ISO 250
Caption: Rebels hold a young man at gunpoint, who they accuse of being a loyalist to Libyan leader Muammar Gaddafi, between the towns of Brega and Ras Lanuf, March 3, 2011.REUTERS/Goran Tomasevic
“I took this photo just around the corner from my flat, in Clarence road in Hackney, on the third night of rioting and looting in the British capital. I'd heard of photographers being mugged for their gear and assaulted during the riots so I arranged to meet up with some other snappers when I arrived. At the top of the street there was a burning car, lines of riot police with dogs and hooded men throwing bottles, sticks and stones.
Suddenly the police withdrew, leaving the rioters to it. I could see people climbing in and out of a shop with smashed windows, so I went to have a look. There were a lot of men and women looting the shop and at first no one noticed me. I started to shoot and, like you do, with every frame I took another step into the shop and away from a safe exit. The shop had been trashed inside and a couple of men were filling their bags with bottles of spirits and cigarettes. Another checked the till. I kept shooting until one of them noticed me. The last frame I have is of him looking at me as he pulls himself up onto the counter.
I left the shop but two large looters came over and accused me of being police. There was a bit of pushing and pulling as they tried to take my cameras. Luckily some of the other photographers who had been with me when I arrived came over and pulled me away. It was a lesson, not only in not overstaying your welcome, but also how important your colleagues are.”
Canon 5D Mark II, 24 - 70mm lens at 40mm, f3.5, 1/160 ISO 1600
Caption: Looters rampage through a convenience store in Hackney, east London August 8, 2011. REUTERS/Olivia Harris
“There was a planned protest march against a parliamentary vote on Greece’s five-year austerity plan that included tax hikes and government spending cuts, which degenerated into a violent clash between protesters and riot police.
I was standing on the elevated entrance of a central hotel on Syntagma square with other photographers covering the clashes. The police had just pushed back protesters with the use of teargas. Suddenly, through a cloud of teargas, a group of frightened tourists appeared, with luggage in hand and covering their noses, and started running towards us. The scene was totally surreal: In the middle of a stone war and teargas, tourists visiting Athens on their summer holidays were trying to reach their hotel.
I didn’t think twice, I lifted my camera and followed their agonizing effort until they reached the hotel entrance where we were standing. The door opened and they vanished behind it, safe and into a reality much different from the one that was evolving before me.”
Canon EOS 1 Mark IV, lens 70-200mm, f14, 1/400, ISO 320
Caption: Tourists run from teargas in central Athens during anti-austerity protests, June 15, 2011. REUTERS/John Kolesidis
“I shot this picture in North Korea while waiting to board a ship for a 24-hour cruise to the resort of Mount Kumgang, on the border with South Korea. Local North Korean authorities were preparing a departure ceremony for us, and this woman began laying down a red carpet while a soldier looked on.”
Canon Mark II, lens 50mm, f2.0, 1/2000
Caption: A woman prepares a red carpet for the departure ceremony of Mangyongbyong cruise ship in the North Korean Special Economic Zone of Rason City, northeast of Pyongyang August 30, 2011. REUTERS/Carlos Barria
“I’d been working on this project for around 25 days to document the story of the drug rehab center Nosotros Unidos. At dawn on August 27, after having worked the night on the streets of Caracas with the center’s social workers to try and convince addicts to come off the streets, this image appeared to me. I had slept only three hours on a cot after the long night, like many of the program’s participants. The image came to me as one that perfectly summed up everything that I had experienced inside. Danny Martinez, a patient in the center, lifted up a naked elderly man from his wheelchair to place him in bed and get him dressed, after having helped him to bathe."
Canon EOS 1D Mark IV, lens 29mm, f2.8, 1/25, ISO 1600
Caption: Danny Martinez, 36, a patient in drug rehabilitation, helps to move an old man from a wheelchair to his bed, after bathing him at the Nosotros Unidos rehabilitation centre for drug and alcohol addicts in the low-income neighborhood of Coche in Caracas August 27, 2011. This rehabilitation center for drug abusers and the homeless, is funded by a Christian evangelical church, and has been a model for state institutions with the same goals. It is located in the turbulent slum of Coche in Caracas, one of the most violent and chaotic cities in the world. Within its humble surroundings, some 250 men find hope each day living side by side, from the city's youth to the elderly and the infirm. The center has helped more than 20,000 people over the last 15 years. REUTERS/Carlos Garcia Rawlins
“One of the best views of Port-au-Prince is from a hilltop neighborhood called Fort National-- a steep five-minute ride from downtown. Eighty percent of the buildings in this densely packed area were leveled in the 2010 earthquake, providing an unobstructed 360-degree visual city tour from the crushed cathedral to the rockslide-scarred hills across the harbor. But residents say that because there was no central tent camp set up here, they were largely bypassed by help from the government and aid groups. Around the time I was assigned to photograph the run-up to the quake's first anniversary, billboards were popping up with architectural renderings of the "new Fort National" to be built. Palm trees, pedestrian paths; Miami style. Locals were told to abandon their efforts to rebuild their homes-- they would get new, government subsidized ones. I immediately knew I would start the day shooting there.
I found Orich Florestal and Rosemond Altidon standing on a slab of concrete jutting from the second floor of a half-missing building, their home, watching the sun rise. They invited me up to their "balcony"-- a former bedroom in the same apartment block their families had been living in for years. Tall cracks exposed rebar in the walls of the first floor rooms, all inhabited by other families.
We could hear earthmovers firing up to start clearing debris on the other side of the hill. But we could also hear the sound of hand tools directly below us. A man was laboriously chipping cement off of the few intact cinderblocks a family had scavenged from their fallen home, carting the blocks some yards up the hill to create the foundation of a new one -- in the heart of the area slated to be cleared for condos.
Futility or prescience?
Four months after this photo was taken, a new president took office and the new Fort National plan of the previous administration was shelved.”
Canon 5D Mark II, lens 50mm, f2.8, 1/8000, ISO 200
“I saw the plane, which didn’t seem out of the ordinary, since planes had been in the sky all night, but for some reason this plane looked like it was heading towards the tribute in lights. It crossed over, and I was able to make about four frames of the plane actually passing through the lights. Of those, only one was in focus. I had actually hoped to expose for the plane, but I didn’t have time to change the settings. But in the end, the plane in white heading into the clouds seemed a fitting tribute on the September 11 ten year anniversary, so I’m glad the image was exposed as is and that I was lucky enough to capture this frame.”
Canon 5D, lens 50mm, f1.2, 1/50, ISO 800
Caption: A plane flies through the "Tribute in Lights" in lower Manhattan in New York September 10, 2011. REUTERS/Eric Thayer
“I almost didn't take the photograph. I'd been walking through a remote Kenyan village near the border with Somalia shadowing a group of United Nations bosses who were there to see the impact of the recently declared Somali famine and region-wide drought. I'd become tired of such trips over the years, which I blogged about for Reuters here, and was particularly struck that day by the often surreal nature of the African aid circus.
When I saw this official dressed in a suit and using an iPad to film a dead cow, I just stood and stared, pretty sure I had rarely seen anything so strange and incongruous, such an odd meeting of a world filled with ultra-modern developments and one trapped in a cycle of age-old problems.
I finally snapped the picture just seconds before the man stood and caught me standing behind him.”
Canon EOS 7D, lens 35mm, f11, 1/800, ISO 400
Caption: An aid worker using an iPad films the rotting carcass of a cow in Wajir near the Kenya-Somalia border, July 23, 2011. REUTERS/Barry Malone
When I saw this official dressed in a suit and using an iPad to film a dead cow, I just stood and stared, pretty sure I had rarely seen anything so strange and incongruous, such an odd meeting of a world filled with ultra-modern developments and one trapped in a cycle of age-old problems.
I finally snapped the picture just seconds before the man stood and caught me standing behind him.”
Canon EOS 7D, lens 35mm, f11, 1/800, ISO 400
Caption: An aid worker using an iPad films the rotting carcass of a cow in Wajir near the Kenya-Somalia border, July 23, 2011. REUTERS/Barry Malone
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