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    They were very young Taliban, so they all had cell phones. Some of them had Britney Spears ringtones on them. They started taking some selfies with us, so I thought then that I could take some pictures of them. The first half an hour everyone was stressed and looking at each other without doing much; it was very tense. After I took out my camera and started taking a few pictures, and I showed them, it was easier….when I know a picture is important I don’t really think that much about anything else.

    Reportage by Getty Images photographer Veronique de Viguerie recounts her first meeting with the Taliban in 2006. Hear more on BBC World Service.

    “I was waiting to try to photograph the exodus of refugees coming out of Syria. It’s a picture that’s very very difficult to get as a photographer now because all of the neighboring countries have really shut down their borders, so I stood outside of the smugglers village because I knew that they were crossing there. And every hour or so someone would come up to me and say ‘get out of here we’re going to kill you.’ And one guy came up to me and said ‘I’m going to get my knife.’ Another guy came up to me and said ‘just wait until dark, because when dark comes you’ll see all the refugees.’ So I put my cameras in my bag and I waited, and of course at dark they all started streaming out.” – Reportage by Getty Images photographer Lynsey Addario.

    Watch Addario talk about her career and the stories behind her images in this video.

    'I was with my colleague friend Manon Querouil doing a story on oil companies who are destroying the Niger Delta and rebels who are attacking pipe-lines and kidnapping people. The rebels, known as the Movement of Emancipation of the Niger Delta, and Ateke, their chief, were living hidden in the mangrove….After a few days Ateke fancies Manon and wants to sleep with her. I had to play the big sister role, saying that she can not, she would have to be married. Warlord says fine, he will marry Manon – what’s another wife or two. We said to him that we needed beautiful dresses, a ring and to all our parents. Ateke gave us some money and send a man with us so we can buy our girl things. Of course as soon as we arrived into the city we flew back to France. Ateke is probably still waiting for his evaporated wife.'

    -Reportage by Getty Images photographer Veronique de Viguerie recalls the story behind one her most iconic photos -  Escaping a Marriage Proposal from a Warlord

    AFGHANISTAN: 8-month-old Samiullah, suffers from what doctors call Marasmus, a sign of advanced malnutrition. Daniel Berehulak/Reportage by Getty Images AFGHANISTAN: The body of a suicide bomber killed by ANA personnel lays on the ground at a police station. Daniel Berehulak/Reportage by Getty Images SOUTH AFRICA: Young parishioners offer prayers during Sunday mass in commemoration of the late Nelson Mandela. Daniel Berehulak/Reportage by Getty Images INDIA: Naga sadhus bathe on the banks of Sangam during Kumbh Mela. Daniel Berehulak/Reportage by Getty Images

    Reportage photographer Daniel Berehulak was recently honored with POY’s Photographer of the Year award. We spoke with Daniel about the stories that mean the most to him, and how he brings a new approach to his daily news coverage:

    What do you feel is the most important story that you worked on this year?

    One of the most important stories that I covered this year was the worsening hunger crisis in Afghanistan. I accompanied New York Times journalist Rod Nordland to Helmand province and also to Kabul to document the large increase in malnutrition amongst children. It was harrowing photographing so many children that were so malnourished, crying in hospitals sometimes four to a bed, others laying on the floor. Hospitals like the Bost hospital in Lashkar Gah, the capital of war-torn Helmand province, had been registering significant increases in severe malnutrition among children. Countrywide, such cases had increased 50 percent or more compared with 2012, according to U.N. figures. Reasons for the increase were uncertain, and in dispute. Most doctors and aid workers agreed that the continuing war and refugee displacement were contributing factors. Some believed that a growing number of child patients may be at least partly a good sign, as it meant that more poor Afghans were hearing about treatment available to them.

    How often do you experiment with different formats and what made you decide to shoot Kumbh Mela in panoramic?

    I try to approach things differently, especially if the event lends itself to a different format. I am quite active on Instagram, filing pictures of daily life and outtakes from assignments or news events, such as when I covered Nelson Mandela’s farewell. With the Kumbh Mela I wanted to show the scale and magnitude of the event – this was believed to be the largest gathering of people on the planet; over 100 million people visited the area over a 55 day period.  It was difficult on the ground and attempts to cover the story with a drone were not an option due to safety risks. I experimented with my iPhone and an app that had a 17x 6 format, which I felt lent itself to the Kumbh Mela. Along with the daily coverage that I filed to Getty I shot on the side with my iPhone, framing the incredible scenes with the panoramic app.

    What does this award mean to you?

     To be recognised by one’s peers is a huge honour, especially by Pictures of the Year International which is one of the only awards that has a photographer of the year award, and in a time when competition is so fierce with so many great photographers working as freelancers. I am glad to have covered important stories this year which bring some light to the issues. 

    See more of Daniel’s winning images on Getty Images In Focus

    'Don't sleep. Don't think about anything else. Forget about your girlfriend, forget about your boyfriend. Forget about anything in your life other than that story for that time.' - Brent Stirton on the obsession required while shooting for National Geographic Magazine.

    'I just hang around long enough for my, and the camera’s presence, to become part of the scene.'

    Marking the publication of his book Suited and Booted, by Cafe Royal Books, Peter Dench delves into the inspiration and craft behind his work in this interview with Pedro Silmon.

    'The whole story was shot in about an hour and a half without any research as it was not part of my initial assignment nor did we have plans to go there. What is very interesting is that nobody cared, was interested in or published the main story I was sent by UNICEF in Kenya to take - the street child program. That story took me days to photograph but everybody published the Kenya Pumwani Maternity Ward feature that was shot just in an hour and a half, because of the topic, the intimacy and the pictures themselves.’

    -From Marco Di Lauro's interview with The Image Deconstructed.

    ‘I’ve tried to look at a lot of women’s issues, because I can. I can get better access than a man can…In countries where females are abused, where there’s a lack of human rights overall, they definitely reach out to other females. Why? Because they know I care. I’m there not trying to just photograph the situation, I’m there because I care about the story.’

    Paula Bronstein talks with Australia’s ABC radio about her work as a photographer and how she connects with her subjects. Listen to the full interview here.

    'This is not the profession for someone who enjoys a routine. Truth be told some days are quite boring. Other days are amazing. Some days are filled with love. A few are terrifying and a significant number are mired in sadness, or tragedy. Some days are like a dream where you feel extremely lucky to be doing what you love. This job exposes one to the entire range of our humanity.'

    Mario Tama discusses the daily experience of photojournalist, how he preps for an assignment, and the one story that he feels most connected to. Also, why he sometimes steps out of the digital world to tell stories using a tiny film camera. Read more on Lomography

    Brent Stirton, The World Over

    'The proving grounds that you have when you are younger change when you acquire some character as a journalist. You realize, “All right, I'd like to be in Syria making heroic images,” but you look at how many people die from natural causes every year, and then you work out how many die from disease, if you just look at something like malaria, there are five million kids, just kids, dying every year. In conflict zones, those numbers are far smaller. So when you really look at what the issues truly are in the world, you have to be careful not to run towards sensation. And I would never want to detract from the courage of the journalists covering classic conflict, but there are many conflicts in the world, and many of them are completely undercovered.

    I’m working in the area of sustainability and diminishing resources and I increasingly see a connection between all of these in terms of conflict, human drama, and migration. It’s all interconnected….It’s kind of like watching a movie and breaking down how the cinematographer worked. You are no longer capable of taking something at face value. Everything has its connection, and those things are increasingly apparent. For example, if you look at something like water and you look at something like oil, you look at sustainable land use, you look at food security, those are global themes that I see coming up time and time again and the ingredients that make up those things are common factors in every place and in every one of us. So I’m just trying to paint this bigger picture.’

    From the Interview Magazine profile of Reportage photographer Brent Stirton

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