I’m excited to announce that my debut as a film director will be premiering at the Seattle International Film Festival on Monday, May 28th. This for my short film Anaiyyun: Prayer for the Whale. It will be screening alongside several other short films in a series called Legends of the PNW.
Anaiyyun: Prayer for the Whale is the story of an Iñupiaq whaling crew, living where the vast plain of ice meets the waters of the Arctic Ocean. During whaling, their lives are interminable periods of silent observation, punctuated by moments of terror. The ice hides its dangers—desperately hungry polar bears hunting humans, massive icequakes when sheets of ice collide.
Here on the sea ice, the Iñupiaq wait for the whale. When the whale does offer itself, it will take the courage and skill of the whaling crew, riding on the icy waters of the Arctic by a skinboat, to catch it. But in the long moments standing on the ice, protected from the wind inside a fur-lined parka, a timeless gratitude develops. In those moments, the patient act of waiting transforms into a prayer for the whale.
We still don’t tell accurate histories of our country and we still don’t frame the United States as a country built on stolen land,” she said. “So as we try to repair these narratives, they can’t just be told from outside perspectives. They have to be told from an inside viewpoint as well.
There are few indigenous peoples in media, and few opportunities for indigenous artists. Today we seek to change that with this Database of Native photographers. Special thanks to Josué Rivas and Daniella Zalcman for their dedication and hard work in creating this.
Light Atlas Creative is a mentorship program with Laura Valenti to help photographers transform their vision and lead vibrant, skillful, wholehearted creative lives.
She teaches teaches richly interactive online courses, works with emerging photographers, present lectures to photo groups, and curates exhibitions for galleries and festivals around the world.
I believe a documentary photographer is a journalist first, and an artist second.
I spoke to her after being introduced through Critical Mass, where she was a juror, and we connected well. Laura is a terrific interviewer and asks questions that draw out a lot about photography underneath the surface. I spoke to her about finding one’s unique vision of the world, and what makes photojournalism work for me.
Why framing a shot and clicking the shutter is least important part of taking a photograph.
Why photojournalism is not being a fly-on-the-wall
How to fund your long-term photography projects
Avoiding preconceived notions in your work
Why your personal identity is crucial for your photographic vision
Why publication alone should not be the final goal
As I work on indigenous issues a photojournalist, I find myself increasingly working as both a writer and a photographer. The issues surrounding indigenous rights and ecology are rich and complex– it is the combination of images and words that tell the most powerful stories.
Today the world’s 300 million Indigenous people live in every inhabitable biome on earth, some of whom inhabit territories with the highest levels of biodiversity. Remarkably, the regions of greatest biological richness are often strongly correlated through their high diversity of human cultures, and many of those are often Indigenous cultures.
Many thanks to the inestimable Nejma Bellarbi of Voices for Biodiversity for entreating me to tackle this story and for great conversations as an editor.
People of the Whale, my series on the Iñupiaq culture of the Alaskan Arctic, has been published in print internationally but hasn’t been accessible in an online form. I’m excited that it’s now published on Topic.com, an online magazine with innovative storytelling. The story comes to life with animated gifs and an excellent layout thanks to editor Caroline Smith.
This version of the story gets into more depth on the the cultural importance of whaling but also how climate change is affecting the lives and traditions of the Iñupiaq.
I’m more than happy to contribute to that understanding, especially to help people understand the attitude Americans have toward the land. You can see more of Living Wild, but if you want to pickup the America magazine, you’ll have to get it in print.
As a long-form documentary photographer, I often don’t see my work come into publication for many years. This December though, it seems that it has all landed at once– My work with the Living Wild project is on the cover of November issue of National Geographic Traveller China, and I have two additional features in the December issue.
December’s issue covers the Iñupiaq relationship to the Arctic Ocean, and includes a feature on my work in the collection of “Greatest Photographs of 2017”.
It is my hope that the indigenous perspective opens eyes in China, where it is generally unknown. Nonetheless, millions of indigenous peoples live in China, and their stories are the stories of Native peoples everywhere: Land is life.
Jonathan Blaustein, a writer for the NYTimes Lens Blog as well as for APhotoEditor, is one of my favorite photography writers. He’s got a stream-of-conciousness style, taking us on a journey into his life, and out back out again through the art and photography. I met him briefly at Review Santa Fe, which is an amazing place to meet photographers working at a high level, as well as editors and gallerists at the top of their game. Jonathan featured my work on APhotoEditor as well as some other excellent photographers (check out Adair Rutledge, a transplant to Seattle as well).
The PX3 competition is one of Europe’s largest photo prizes, despite being only a decade old. This morning as I was logged into the PX3 website to enter for 2018, I made a surprising discovery– that my work Tuvaq, had won the Gold award in the Press and Nature/Environmental category for 2017. I suppose their email notification had disappeared into my junk mail box?
This edit of images from People of the Whale has a distinctly fine-art perspective, and is a look at what sights and sounds you encounter when living on the sea ice in Arctic Alaska with the Iñupiaq. Quyanaq for looking.
His documentary work reveals the interdependent nature required of those who want to live,not just survive, in the wild. The frankness of the portraits, against black backgrounds, offer an up-close look at the serious, often weathered, faces of those trying to dedicate themselves to the land.
Writer Loren Talbot of The Week interviews me and takes a deep dive into my project, Living Wild. She lifts the curtain off what it takes to live with people in the wilderness without modern conveniences, and looks into what brought me there in the first place.