_________[Work from Mandela's Funeral in American Photography 30]_________

CALIFORNIA, MAY 6, 2016 Each year American Photography puts out a terrific book of eclectic professional photography from the last year. I'm pleased that pictures from my essay from South Africa are featured in this year's edition. You can see all the winning work at http://www.ai-ap.com/slideshow/AP/30/#79

____________[Slide Show in Walnut Creek Saturday March 8]__________

I'm pleased to help Camera West in Walnut Creek celebrate the opening of their new space and Leica Gallery in Walnut Creek. I'll be showing recent and past work from South Africa, Japan and other countries. 4:30-6:30pm. Click here for more details.....
Camera West Special Events

______[Seeing Buddha in National Geographic February Issue]________

JANUARY 26, 2014 National Geographic Visions section has published a photograph of dancing monks from Paro, Bhutan in the Visions section of the February issue. This picture is part of the series Seeing Buddha which is planned as a book and exhibition. You can follow the project on its own website here.

________["Honoring Madiba" Now Available at Blurb]__________

I've just produced a book of photographs from South Africa covering the ten days after the death of Nelson Mandela. The 29 pictures in black and white from Johannesburg, Pretoria, Mthatha and Qunu focus on the reactions of ordinary South Africans as they mourn and celebrate Nelson Mandela. The printing is done on high-quality photographic paper and also contains text written for DART on my final day in Qunu. You can preview the entire book here.

http://www.blurb.com/b/4953754-honoring-madiba

_____[More Upbeat Rememberences of Madiba]________

© David Butow
ATTERIDGEVILLE TOWNSHIP, W. PRETORIA, S. AFRICA DECEMBER 12, 2013  I had the pleasure of watching and listening to more Mandela-oriented grooving today, this time courtesy of a sort of Drill Team for Jesus. I was pulling up to a Mandela memorial at a soccer stadium in a township when I ran into the group dance/marching their way into the area.

Turns out they are all members of South Africa's largest church, the Zion Christian Church, and they were wildly popular with the crowd, particularly the ladies. They were pretty much the hit of the occasion, as the memorial was mostly an upbeat celebration of Madiba. Unlike the official one on Tuesday in Johannesburg, this one was hot, sunny and mostly about song.

___[Celebrating a Hero: South Africans React to the Death of Mandela]___

© David Butow
JOHANNESBURG, SOUTH AFRICA DECEMBER 11, 2013  You may have seen on television the relentless, driving rain during the entire outdoor stadium memorial for Nelson Mandela in Johannesburg, South Africa. It probably did affect the turnout, but the energy and spirit was still there. Part memorial service, part political rally, part endurance contest and part groove-fest, the all-day event started with crowds forming outside the at dawn before the official gate opening time of 6 a.m.

If you got there at six and stayed for the whole thing you would spend about 10 hours at the stadium. There was hot stadium food which tasted better under the conditions. The South Africans danced, chanted and sang political songs, and songs about Mandela who they often call by the nickname "Madiba", or "Tata" which means "papa". Many brought cardboard or newspaper pictures of the man which turned to soggy rags by mid-day.

If you were American, you'd appreciate the uncommon presence of Jimmy Carter, Bill Clinton, Hillary Clinton, Chelsea Clinton, George W. Bush, Laura Bush, Michelle Obama and Barak Obama in one place. Particularly if that place was in a developing country half-way around the world from the U.S.

There were no security checks for ordinary people at the stadium. It was quicker to get in than going to an NFL game. I was standing near the entrance to the field used by Obama and about a half-hour before, I watched as one of the U.S. guys leading a serious gun-toting security team scanned the stadium, his jaw clenching so feverishly, I could practically hear his teeth grinding from 30 feet away.

But aside from some delays and tepid reactions to many of the speakers all went off without a hitch. Obama was without a doubt the most popular person in the stadium. Crowds clammered to catch a glimpse of him, and the clear tone and rhetoric of his speech cut through the ambient noise like no other's.

It was a long and wet day, but one filled with joyous spirit and song, so what's a little rain to complain about?

You can see more pix at http://archive.reduxpictures.com/

______________[Cameraman Maurice Levy, Dallas, November 22, 1963]____________

SAN JOSE, CA NOVEMBER 22, 2013 The man with the camera at left of this picture, Maurice Levy, is the father of Morgan Levy, one of my oldest childhood friends from Dallas. Maurice Levy was the cameraman for NBC News in Dallas when JFK was killed. This photograph was taken about noon local time as Kennedy left Love Field, about a half an hour before the assassination. In the days and months afterwards, he covered the Oswald press conferences and the Jack Ruby trial.

Maurice Levy began his career as a young Army photographer in the European theatre during World War II. After the war he went on to film many of the major political and social events of the 1950's and 60's. He was particularly committed to covering the civil rights movement and Life magazine published a photograph of him after he'd been knocked to the ground by an group of angry racists. I saw a copy of the picture recently and I like the fact he's still hanging on to his camera and he's wearing a suit and tie.

My other best friend from Dallas is Brad Sissom whose parents owned the John F. Kennedy Museum which was across the street from the Texas School Book Depository. They started the museum in the 1970's long before the city opened the official one in the Depository building. In junior high school I became fascinated by photographs of the assassination, and the power of photography to capture significant events. This interest was partially responsible for me making photojournalism my profession. As teenagers, I'd want to discuss with Brad some of the minutia of conspiracy theories but he was sick of hearing about it having almost literally grown up in his parents' museum.

I'm sure much of the footage Maurice Levy captured during those days has been played extensively during this anniversary, so his work lives on. Morgan went into biological science, which was my dad's profession. Brad became an optical engineer. His parents retired the museum years ago with a trove of historical papers, photographs and, rather bizarrely, 1000 light bulbs from the landmark giant yellow Hertz sign which sat atop the Texas School Book Depository Building. Brad has just informed me that in the interests of history, he is still storing those bulbs.


____________[Seeing Buddha Opens in Santa Monica]___________________

SANTA MONICA, CA OCTOBER 11, 2013  The Seeing Buddha project is kicking off this weekend with the showing of a dozen prints at studiofive08.com in Santa Monica. Friday night I'll be doing a talks at 6:30 and 8:00 and Saturday night, October 12th, we'll have the group show and opening party from 5-9. This is a nice sample of what the complete show will look like next year. 508 Gallery manager and artist David Brady, shown in the photo hanging Kamakura Buddha on aluminum, has done a fantastic install.

_________________[Jeff Jacobson on his book The Last Roll]___________


© Jeff Jacobson
SAN FRANCISCO, CA APRIL 15, 2013   In 1974,  Jeff Jacobson, then a young attorney with the ACLU in Atlanta decided he needed a hobby to get him out and about as a break from his desk job. He took an evening photography class and left his job as a lawyer shortly afterwards to shoot full time, photographing social issues and politics. He gained particular notoriety for his work on the 1976 presidential campaign and became a photographer with Magnum in 1978. In 1981 he left Magnum to to join Archive Pictures and continued shooting extensively in the United States, working on a collection that would become his first book, My Fellow Americans,  published in 1991. Over the next several years in between shooting journalistic magazine assignments, his personal work became oriented towards urban and natural landscapes. In 2006 he published a collection of this new, more abstract work in the book Melting Point .

Jeff's latest book, The Last Roll,  published by Daylight Books, was released in March and is comprised of a body of work he started several years after being diagnosed with lymphoma, which later turned into leukemia. Jeff was suddenly forced to confront his own mortality in an immediate way. A few years after the tiring treatments which kept him largely home-bound in upstate New York, Kodak discontinued Kodachrome, the film that Jeff had mastered and used almost exclusively throughout his career. An exhibition of the this work has just opened at the Center for Photography at Woodstock, in upstate New York.

I've known Jeff for about twenty years, and while for most of that time we've lived on opposite coasts, I've been lucky to cross paths with him, and I've always admired his work for it's uncompromising vision in the sense that he never modifies his style because of trends or clients. His body of work looks like no one else's, and has a rare combination of being both cerebrally challenging and aesthetically pleasing.

The following are excerpts from a phone conversation Jeff and had recently where I asked him about the arc of his career including his discovery of a flash technique that was novel at the time, but which nearly all pros use today. I'm going to leave that topic and a broader discussion about Jeff's career for a second blog post in order to focus on the new work, because that book is hot off the press. Our talk was based on my questions which I've condensed.

DB: When and how did you start the work for The Last Roll?

JJ: I didn't know i was doing a book, I was just shooting and I guess I didn't realize that I was doing a book until I learned Kodachrome was ending.  First they discontinued 64, and I had stopped using 64 earlier. Melting Point is almost entirely with 200 and I started pushing 200 in the 90's and for a while that was everything I did. So when I realized that they were going to discontinue 200 a year before they did I thought I would just shoot until it was done, and thats it.

DB: Your newer work is more abstract. It's less about the subject that's in the picture and more about what's going on in your mind.

JJ: I think this new work especially, is so much about me. It comes out of the absolute deepest place that any human being, and every human being has to deal with, and that's your own death. This work literally started when I was diagnosed with cancer. And then when Kodachrome was ended it became the death of the creative tool I had used my whole life, so this work is a response to where I am presented with both physical and creative mortality. There is was, right in front of me. So what do you do? This emerged from that crucible. So its very, very personal.  It pretty much started right in this house, because I was too sick to go anywhere else so I started shooting in my house and out the windows and on the street.

DB: Taking pictures out of your window is very different from working in the field, photographing kinetic things like you did in the US, Mexico and other countries. Did working in this way change your relationship to photography?

JJ: It's a much slower, deliberative way of photographing. But you know, my life just stopped. literally stopped, everything stopped. I stopped working, the only thing I did was deal with cancer treatment and take pictures. I continued to take pictures. that was my life, and that lasted a hell of a long time, and when I started moving around a bit I made a conscious decision that I didn't want to go back to being an assignment photographer again, so the only journalism I did was totally self-generated stories and they all had to do in some way or another with the earth. It was the only thing that made any sense to me that its the only issue that i cared about photographing. It truly is the issue of our time. Either we figure that out or we're through as a species. Republicans and Democrats became rather boring to me, so i just stopped doing magazine assignments in terms of looking for them, but more and more I started to turn them down. I though of photography less as a journalistic tool and more of as a diaristic tool.

On a certain level that doesn't feel different at all, because I'm still excited about looking through the camera and pressing the shutter. Oddly enough one of the gifts of cancer, is that it really slowed me down, and made me take stock of what's important to me, and I had to think about that in a way that I never had to think about it before.  Since the end of Kodachrome I haven't shot film and I've been working with a little digital camera.  Ever since Kodachrome ended I have been dealing with this disease, I haven't been doing any commercial or assignment work but I've been shooting like crazy.

Towards the end of our conversation we discussed the virtues of film vs. digital and I mentioned I'd been shooting a lot of film while working on my latest project Seeing Buddha.

JJ: When I was diagnosed with cancer I started reading about Buddhism and the whole idea of impermanence, certainly when you're faced with your own death, and then with the end of Kodachrome, there it is. And with photography, the world is changing every second, I don't care if I'm shooting out my window or on a street corner in NY. The world is changing every second. Photography is the only medium that acknowledges that experience. The thing that photography does that's unique as medium, that no other medium can do, is render a still image from a specific point in space and time.

_______________[SHE IS REAL]_________________________

SAN FRANCISCO, CA FEBRUARY 12, 2013  It was a blast working with the band Fonda on another collaboration. David and Emily gave me free reign to put moving images to go with their gorgeous song which is on their new album Sell Your Memories released by Minty Fresh Records and available on iTunes. Go ahead, splurge and hit the full frame expander icon next to the word "Vimeo"on the image, and put on some headphones or play it through good speakers!

____________________[DART Dispatch]__________________

SAN FRANCISCO, CA FEBRUARY 11, 2013   My good Peggy Roalf, the editor of American Illustration-American Photography (AI-AP) online magazine Design Arts Daily (DART), asked recently if I had any good mountain stories. I'm no Jon Krakauer but having just returned from Nepal this one came to mind. Thanks, Ed!

Mountains of the Mind

By Peggy Roalf   Monday February 11, 2013
Thanks to everyone who sent in a Mountain story. Here's one from David Butow, in Oakland, CA.
In the fall of 1986, I was 21 years-old with a semester to go before graduating from the University of Texas. My mentor, Ed Hille, invited me along for a six-week shooting trip through Asia, basing ourselves in Kathmandu for 10 days. It was the biggest, most exotic trip I'd ever done. A young, eager photographer shows up in a place like Nepal with two pro cameras, a light meter and dozens of rolls of blank film and thinks: "Adventure. Possibilities!"
Twenty-six years later, having logged over a million miles flying around the world shooting pictures, I returned there for the first time. Not so young, but just as eager. As we descend, I lean in towards the plane's window, blank rolls of film in the bag at my feet, the sight of the Himalayas coming into view once again. Possibilities!
mountain4peggy.jpg
© David Butow

__________ [Sell Your Memories]_______________________

© David Klotz 2012
SAN FRANCISCO, CA  JANUARY 28, 2013- I was around 10 years old when I started listening to records on my own at home. And in those days (the 1970's) a real record was a 12" LP that you'd put on a turntable. There were no CD's, Mp3 files, iTunes, none of that. Albums were real physical objects to be handled carefully lest they get scratched. There was great excitement when you'd get a new record, put it on the turntable, turn up the sound and settle down on the sofa with the album sleeve, checking out the photography and the liner notes.

I still have my parents' 1960's pressing of the Beatles Revolver (a title that would not have been clever in the digital file era, 'cause there's nothing that revolves). On one side is Klaus Voorman's great early psychedelic drawing and on the other side is my crude handwriting in red crayon where, with my mother's guidance, I wrote the name of each Beatle under their picture. I had trouble with "George".

In addition to the respectful way you'd handle the vinyl, there was that large 12"x12" space for artwork on both sides of the sleeve that gave a visual reflection of the artist and the music. Many of those images have become iconic: Led Zeppelin's first, London Calling, Nevermind. It's rare today that a still picture becomes so closely associated with new music. Even with CD covers, the image area is so small it's hard to imagine the Beatles, for example, putting the kind of effort into a detailed photograph as they did for the Sgt. Pepper cover.

Fortunately, there are still people making new music who appreciate the full sonic, tactile and visual experience of a vinyl LP. And lucky for me that two of them are old friends of mine, David Klotz and Emily Cook, who form the nucleus of the Los Angeles band Fonda. When Dave was putting the final touches on the band's fourth album, Sell Your Memories, which will be released February 5th by Minty Fresh, he asked if I had some suitable pictures that would reflect the "usual Fonda themes" which tend towards the melancholy.

David is from the East Coast and Emily is from London but their music is rooted in LA where they met, so I went out and created some new pictures using the cityscape as the subject, shooting it in a slightly abstract way and with the dreamy palette that reflects Fonda's sound. It was great fun to do for, what I believe, is my first album cover. We made a video too, but more on that later. In the meantime, please have a look and listen

___________________[From the Archives: A Night in Boston]_____________

 © David Butow 2004
SAN FRANCISCO, CA  SEPTEMBER 6, 2012 - I recently came across this picture while going through some negatives shot in the summer and fall of 2004. It seemed like a particularly divisive time, politically. As the presidential election heated up, the post-war Iraq war was raging and the Abu Ghraib pictures had only been out for a few months. The Left, and many in center were furious with President Bush and his administration.  Working as a contract photographer with US News and World Report I shot a lot of black and white at both parties political conventions to try to capture the mood of the seething atmosphere.

There were protests and arrests in New York where the Republican convention was held, and bad chemistry overall in that traditionally Democratic city. But in Boston at the Democratic convention, one of the bright spots was an appearance by a guy from Chicago running for the US Senate. He was not yet a nationally known figure but his speech was captivating to me and to others in hall and those watching on TV. I remember watching him just afterwards, mingling on the stage, he was clearly something new, just a few years older than me, way more intelligent and cool.

I certainly did not predict he would be running for re-election for President eight years later, in a country still very divided but with the political parties' roles flipped.





________________[Seeing Buddha]___________________________________________

© David Butow 2012
CALIFORNIA JULY 7, 2012  Since February this year I've been busy with a new project called Seeing Buddha. The idea came in part from wanting to do some in-depth work that was not about conflict, natural disaster or some of the other tragedies that I've witnessed and recorded in the last decade.

Finding topic where the subjects of the pictures are having a profound experience, but one that's not based on calamity or misfortune is not necessarily the traditional role of photojournalism. The importance of using journalism and documentary photography to give voice to people and issues cannot be overstated. I've seen the positive results of news coverage in places like Indonesia after the 2004 tsunami. Through the media, people around the world were made aware of the plight of their fellow humans and in coordination with governments and NGO's found ways to help and saved countless lives.

It is out of this same spirit of collectiveness that I approach Seeing Buddha. I've always felt the the more we understand people from different places and cultures the more likely we are to see ourselves as one connected species and the less likely we are to want to do harm to do others. In fact this concept is one of the basic tenants of Buddhism.

Occasionally a picture or series of pictures can influence the public enough to change policy to make a tangible improvement of circumstances for people, animals or the environment, but this is actually pretty rare. Most of the time photography is just one little drop in the bucket of understanding, and I'm pleased to contribute to it by photographing people as they look for deeper spiritual meaning in their own lives. Therefore there is a lovely parallel with communication and photography and the ideas of this 2500 year-old philosophy/religion.

I'll have more on all this later as I continue the shooting and editing, but for now, I'd like to introduce the project at seeingbuddha.net

-DB

_________________[A Seaside Memorial]________________________________________

© David Butow
RIKUZENTAKATA, JAPAN  MARCH 11, 2012  The dozen or so monks had come by bus, they were not locals, they were all from different parts of Japan. One year to the day, nearly to the hour, that the wave leveled most of this town, they piled out of the bus, set up a table, lit incense, formed lines and chanted and prayed. I saw them on a bridge and rushed over. There were two or three photographers there already. Within minutes the media outnumbered the monks. Of course they stayed focused on the prayers.

The chanting was soon over. The head monk looked me in the eye and called me over to do something ritualistic with ashes and incense, taking a bit with my finger and sprinkling it in a container, three times. I was glad to do it, to put the camera down for a moment. The other journalists stood in line behind me to do the same thing.

Then the monks went to where the rocks met the sea, they laid down flowers and tossed stones into the sea. They quickly piled back into the bus and explained they were going to another town up north, and another after that. They would continue the next day, there were so many towns.

___________________________________[Ishinomaki Street One Year Later]______________

© David Butow

© David Butow
ISHINOMAKI, JAPAN MARCH 10, 2012  For a quick trip to Miyagi Prefecture for the anniversary of last year's triple disaster, I was very curious to see how the town where I spent most of my time last year was faring. As you can see, most of the debris have been cleared away but it's far from rebuilt. This seemed to be the case in most of the other other towns I visited, although in the town of Rikuzentakata, which was basically flattened, there are still huge piles of scrap metal.

____________[Zen and the Art of Archery, Or Not?]__________________________________

© David Butow
KAMAKURA, JAPAN MARCH 6, 2012  Several years ago, while reading about Henri Cartier-Bresson, I was interested to learn that he, along with other European intellectuals in the 1950's, were influenced by a then hot-off-the press book called Zen in the Art of Archery written by Eugen Herrigel, a German who had gone to Japan to study Kyudo, the highly disciplined form of archery. Herrigel describes that the uber-methodical martial art is practiced primarily as a form of Zen meditation rather than as sport.

Recently I read that many "authorities" on the subject think Herrigel had translation problems with his Japanese teacher (who might have been a bit eccentric besides) and believe Herrigel's take is a sort of European projection which seeks to give the "art" a spiritual component which is not part of the original Japanese tradition. So who's right?

Bare with me for a quick aside: Ralph Lauren's clothing line is kind of an imitation/exaggeration of the look supposedly favored by members of the North Eastern US old money class, who like to think of themselves as aligned with and/or descendants of the British upper class. (RL is from the Bronx from Jewish immigrant parents, BTW, original name Ralph Lifshitz). So how funny it was a few years ago to see a picture of English Prince Harry, or maybe it was William wearing a RL Polo baseball cap. Full circle.

Now back to archery, I just visited this Kyudo Dojo on the grounds of a Zen Buddhist temple in the lovely city of Kamakura. I had a chat with one of the organizers of a class there who has been practicing for 25 years. It was all very traditional and Japanese with formal dress and tea service etc. I asked her about the Zen component for her, and she said it was about 70%. As we talked she pointed to a framed bow on the wall and proudly explained it was used by Eugen Herrigel! Does this validate Herrigel? Does Windsor validate Lifshitz?

BTW, after I read Herrigel's book I tried Kyudo at a weekend workshop in Ojai with my friend Jeff and it was extremely mentally and physically taxing, ever more so for left-handers like myself because the art's rigid form allows you to draw only from the right side. At the end of the two days, our reward for patiently learning the basic process was getting to shoot exactly one arrow.

________________________________________[Bhutan Shout Out]______________________

© David Butow
BHUTAN February 2012  Big thanks to my driver Nado, left, and my guide Palden, right, who put up with me for ten days and worked very hard to help me find the pictures I was looking for. This picture was taken at a mountain pass cafe early morning on our first day. (Note how Palden rocks the traditional Bhutan man's gho with a not-so-traditional punk faux hawk, a subtle reflection of his wilder days.)

____________[Now and Then, Things Pan Out]_________________________________

© David Butow
PARO, BHUTAN February 16, 2012  Everybody who takes pictures for a living knows you can have some frustrating days when you can't get access to things you want to, or when you, do the scene does not live up to what you'd hoped. There have been some things in Bhutan I've wanted to shoot, but couldn't and just like anywhere, other situations that don't live up to expectations. One day I got invited to a home for a yearly religious ritual and so I tried to keep my hopes in check. But then I walked into the room and saw this I thought: "Yes. This. Will. Work."

_______________________________[Occupy WS Slide Show NYC]_____________

Well, the movement might be winding down but the impact continues and New York photographer Nina Berman has curated a slide show of pictures of OWS by several photographers, including myself, to be shown in NYC at the Gallapagos Art Center in Brooklyn on January 18.


http://ninaberman.wordpress.com/2012/01/13/slideshow-ows-galapagos-brooklyn-ny/

______________________________[Occupy Winding Down?]__________________________

© David Butow
 
OAKLAND, CA-DECEMBER 12, 2011
Having photographed close to a half-dozen Occupy Movement gatherings in San Francisco and Oakland, Monday's mass shut-down or slow-down of West Coasts ports seemed a bit anti-climatic. The movement seems to be losing steam rather than gaining it.

It has certainly highlighted some important ideas that need to be in the public discourse, but the Occupiers seems to be running out of tactics and unless they can somehow translate their passions into political action that finds its way into houses of legislature, I think we'll see a slow death.

__________[Oakland Fire Aftermath by Richard Misrach]_______________________

SAN FRANCISCO, CA   October, 27, 2011-Here's a link to a piece I wrote for DART on two concurrent exhibitions on the 1991 fires in Oakland by fine art photographer Richard Misrach.

____________________________________[MTV Awards Party Weekend]___________

HOLLYWOOD, CA-AUGUST 28, 2011--Having been mostly away from the Hollywood art/commerce/showbiz scene for more than a couple of years now,  I'd forgotten what a finely tuned machine it can be. Thanks to a great three-night assignment from Billboard magazine, I stepped back into the fold this weekend.

Current presidential campaigns could take some lessons from the PR firms that staged parties by record companies and musicians like L'il Wayne and Drake. The walkie-talkie-mic-in-the-sleeve-toting, invite list-wielding, guest discerning, polite-but-firm ropeline-organizing staffers know just where to position the lights and how to move the Bentley's through the drop off zone at the right pace.

Limos dropping off partiers can be discerned from those picking up because the former generally emit a plume of smoke or at least a pungent cannibus fragrance as the guests pile out. And it didn't seem to matter much to the invitees, who were mostly thrilled to get into the parties, that the official "hosts" might not show up until well after midnight, or 1 a.m., or later. Those with a new album out, or have just signed a deal, or "star" in a reality TV show, will go in via the red carpet and stand in front of the strobes as the celebrity photographers (don't call them "paparazzi") shout out their "look this way, baby" patter sounding like practiced auctioneers. On this part, I felt way out-classed.

__________[SF Fashion Week Runway Video]__________________________________

Shot on the last night of San Francisco Fashion Week runway series.......many thanks to Lily Ko at 7x7.com


SF FASHION WEEK COUTURE/AVANT GARDE from David Butow on Vimeo.

________________________________[Interview on the Open Show Blog]_____________

SAN FRANCISCO-JULY 25, 2011-My thanks to Jin Zhu of Open Show for doing this nice interview based on my work from Japan.
openshow.org/blog/

_______[A Saturday Night at Beulah's Red Velvet Lounge]_______________________

ST. LOUIS, MISSOURI-JUNE 8, 2011    You're driving down Martin Luther King Jr. Boulevard in north St. Louis, a few miles from the river, air conditioning blasting to fend off the 100 degree-and-humid heat. For some reason you stop your car and get out, maybe to take in the view or take a picture on this almost deserted street that looks like it hit its peak when Truman or Roosevelt was president. From the sidewalk you hear electric Mississipi blues coming from an outdoor speaker, its cord running into the door of Beulah's, a non-descript storefront on this non-descript block.

Stepping inside the dark room, you see a live performance from Blues Crusher, Beulah's "matinee band", which is halfway through their 4-8pm set. The five-piece outfit outnumbers the customers by maybe one, but counting Beulah, behind the bar, it's about even. "Today's a little slow", she says apologetically. But the Blues does not apologize. They take you down the Mississippi, back in time, down home to place you've imagined but have probably never been. The music, at once dark and joyful, fills the room with the sounds of the South and of a culture you weren't sure still existed until you stumbled on Beulah's.

A couple of the patrons are on the other side of 70, Mississippi natives, and this is their "old school". They are not here for socializing or to drink so much as they are to listen. They both say the music reminds them of home, laughing while they talk about picking cotton as kids,  celebrating the melancholy. They'll stay through the evening, sipping beers, staying cool in the blast of the fans as more people arrive. Night falls, Blues Crusher breaks down and the house band sets up and takes over around 10, late as usual. Beulah only has live music one night a week these days, but they're still playing it and they'll be back next Saturday night, and the one after that, too.

for larger images click on the expansion arrows towards the lower right of the picture

______________________[Open Show SF/Japan]_______________________________

CALIFORNIA-JUNE 2011  Open Show, an ongoing series of curated projection viewings of still and moving pictures in cities around the world is holding an event on Thursday, June 16th in San Francisco at the Rayko Photo Center. The subject is Japan and of particular interest is the aftermath of the events of this past March. The event is co-sponsored by the Japan Society of Northern California and donations will be taken to help survivors. I'll be showing with four other visual journalists.

For more information go to http://openshow.org/bayarea/

Here's the complete essay projected at Open Show

___________________________[St. Louis in Passing]_______________________________

ST. LOUIS, MISSOURI JUNE 6, 2011-A multi-part assignment has taken me to St. Louis three times this year. When I was first there in February the temperature was 10 degrees, now it's 100. Quite a town.  The homes in some neighborhoods are drop-dead gorgeous three story affairs that make parts of Beverly Hills look like a dull suburb. But other parts of town are just dropping dead, so during some time off, I shot the following essay showing a small slice of the demise.

Check back in a couple of days for another St. Louis essay that's more lively and less depressing.
And try clicking on the expand arrows button on the lower right of the picture, it makes a huge difference.

_________[Group Show at Fovea Exhibitions]_____________________________________

May 11, 2011-On Friday the 14th in Beacon, New York, the Fovea Gallery is opening a group exhibition of pictures from the recent disaster in Japan. Both Japanese and Western photographers, including myself, are participating. It's Fovea's 4th anniversary and donations will be collected for the Japan Society Earthquake Relief Fund.www.foveaexhibitions.org

_________________________________[ Kyoto's Quiet Spring ]____________________

© David Butow

KYOTO, JAPAN-APRIL 21, 2011- The fleeting cherry blossoms of this spring in Kyoto make their graceful exit in relative quiet in this city of temples and gardens; the seasonal throngs of families on holiday and giddy global travelers are not jostling for space.

The collective sentiment: native, ex-pat, wanderer,  can all embrace "monoganashii" - or "the frailty of all that is beautiful". 

Perhaps there is unity in this moment, Japanese, world citizens, journalists, sharing the pain of this country's tragedy and this week's loss of two highly-respected colleagues.

___________________________[Japan's Triple Disaster_Projection and Reflection]_________

© David Butow
TOKYO-APRIL 7, 2011-The woman in this picture was one of about 150 people who were living in classrooms at a middle school in Ishinomaki in Miyagi Prefecture, a large town but not quite a city, right on the coast. She, and others who'd either lost their homes or were unable to live in them were spread out around town, sleeping in schools, a few private buildings and other miscellaneous shelters.

I don't know her story. I had no translator with me when I took this picture, and no one in the room spoke English. I don't know if she saw the wave come in, or if she lost relatives or friends, a pet, or a husband. I don't know if she grew up in Ishinomaki or if she moved there last year. For all these reasons the picture falls short of journalism. I can surmise she doesn't have a lot of options, or available family if two weeks after the disaster she is still living and sleeping in a space no larger than a spread-out blanket.

I sat on the floor about two feet away from her for maybe one minute while I was shooting. She was not shy about having her picture taken: she looked right into the camera for several frames then closed her eyes for a moment. I have no idea what she sees in her mind, I can only project, feel empathy for her on the most basic level, and let her be a reflection of the broad human experience of this disaster.

Looking at the arc of these events in Japan, an outsider like myself is limited in what we can figure out. We can view physical damage but the nuclear impact continues, unseen. Unless you are a scientist walking around with a Geiger counter you have to rely on others to quantify the danger. It's equally hard to comprehend the impact on the personal and societal levels. Many foreigners have described this culture as particularly opaque. During this disaster the Japanese seem exceptionally unified: they have a sense of national and cultural duty to help each other while keeping tradition and order. People stand in queues to get food, water, gas and transportation. There are plans to create tax incentives for people to move to some of the badly damaged but salvageable towns.

© David Butow

The country suffered incalculably during World War II and Prime Minister Kan has declared this event the worst since then. Then, as now, there was physical destruction and a nuclear fallout even after the earth shook. The Japanese had to rebuild a government and an economy practically from scratch and their society was changed in the process. Maybe on a much smaller scale the same things will happen again. I'm not sure if the woman in the picture is old enough to remember those times, but I imagine she will remember these.

__________[ Japan's Triple Disaster_the Quake vs. the Wave]_____________________

© David Butow
MINAMISANRIKU, JAPAN-APRIL 2, 2011-One thing very clear from these two natural disasters that struck in quick succession, is that the tsunami caused by far the most destruction. This is in part a testament to Japan's strict earthquake safety codes and in part to the relative power of a fast-moving 30-foot wall of water. Virtually all the major damage I've seen was near coastal areas and was caused by the wave; few buildings collapsed from the earthquake although many roads and bridges were damaged. The earthquake occurred off shore, but was huge, nonetheless.

I spent a few hours visiting a nearly wiped-out seaport with an American who owns a construction company in Connecticut. He was very impressed with the quality of the steel and concrete used in the the buildings but amazed, like everyone, of the tsunami's ability to flip over large concrete buildings. "You would have thought, given the materials, those buildings were indestructible", he said.

And as for human safety, people in the coastal areas were well aware of danger from tsunamis. It is a Japanese word after all, and the government imposed drills and carefully planned evacuation routes. There were sirens and a 30-minute warning. But still, tens of thousands of people died. Against this kind of force, there is only so much humans can do.

_______________________________[ Japan's Triple Disaster_An Unexpected Encounter]___

© David Butow
ISHINOMAKI, JAPAN-APRIL 1. 2011-I was riding the bike past a middle school I'd visited before when I saw a group of military personnel. First I noticed the uniforms looked familiar, then I saw they were not Japanese. I hit the brakes. What was this small group of American soldiers, marines and airmen doing here? Turns out they'd been roaming all over Miyagi for days helping clear debris, shovel mud and doing other unpleasant but necessary tasks.

It was decided that the group should go inside and present some food as a gifts to some of the displaced Japanese who were living at the school. Everyone's boots were muddy and a no-shoes-inside policy had just been implemented anyway, so to expedite things, a couple of recipients were brought to the entrance. It might have been a bit contrived but it's certainly better than being at war, no?

__________________[ Japan's Triple Disaster_The Hidden]________________________

© David Butow
ONAGAWA, JAPAN-APRIL 1, 2011-Thousands of people are still unaccounted for and the Japanese National Defense Force has the primary task of trying to locate bodies and help bring closure to the families of the missing.

In this town, as in many on the Miyagi coast, the wave swept inland into narrowing valleys carrying much of Onagawa's contents and spreading them onto the hillsides. Climbing on steep pitches, the soldiers search through trees, bushes, clothes, trash, furniture, parts of buildings, boating equipment, paper, twisted metal, and they've been doing it everyday for weeks. Success means finding a dead body. I was taking pictures of a group for a few minutes when one soldier looked at me with an exasperated expression and said in English: "Go. Go away." I can't say I blame him.

________________________________[ Japan's Triple Disaster_The School ]______________

© David Butow
KAHOKU VILLAGE, JAPAN-MARCH 31, 2011-At at quarter-to-three in the afternoon of March 11th, there were 108 students at Okawa Primary School. Nestled at the base of hills five kilometers from the ocean, on a country road which runs alongside the Kitakami River, the school sat next to a levy as tall as the two-story building, but not as tall as the wave that came crashing over it three minutes later.

Only 28 children survived. The building still stands but it is not a school anymore.

______________[ Japan's Triple Disaster_Showing Respect]_________________________

© David Butow
ISHINOMAKI, JAPAN-MARCH 30, 2011-They met each other on the road and chatted for a few minutes. People still bow in Japan, when greeting each other, and when saying goodbye. Virtually everyone does it, young and old alike. It's comforting to know that in the midst of the most trying experience many people will ever face, their sense of politeness, ritual and togetherness is intact.

_________________________________[ Japan's Triple Disaster_The Road]______________

© David Butow
ISHINOMAKI, JAPAN-MARCH 29, 2011-Riding a rickety bike down one of these roads in town is strange enough, but do it at dusk, in the rain, and things get a little creepy. There is not much traffic about: the occasional bike or pedestrian, or car whose headlights stand out even more because there is no electricity coming from the damaged buildings.

There are thousands of roads just like this in Miyagi Prefecture. They're mostly cleared by now, but as you make your way through different neighborhoods, in town after town, this is what you see.

_________________[Japan's Triple Disaster_Tender Mercies]_________________________


ISHINOMAKE, JAPAN-MARCH 25, 2011-The 94 year-old woman was living with fifteen or so other people, packed into a school classroom with other residents of this small city whose homes were lost, or rendered uninhabitable. It was clear she was not well, but with few options, the volunteer aid workers did they best they could to make her comfortable, placing styrofoam down to give her a little more cushion on the hard school floor. She didn't like the adjustment and seemed to drift in and out. The next day I went to see how she was doing, her space was empty and the others in the room explained they'd managed to get her taken to a hospital.

© David Butow
The young dirty white cat was wandering a barely-standing gas station. Frustrated patrons had been waiting for hours for fuel, and the cat's desperate meows were roundly ignored, until one man couldn't resist showing the creature a little comfort.

____________________________ [ Japan's Triple Disaster_Hippie Heroes] _______________

© David Butow
ISHINOMAKI, JAPAN-MARCH 25, 2011  A disaster of this magnitude draws all kinds of people to the scene. There are soldiers, engineers, firefighters, journalists......and then are people who have come to volunteer, smart people doing everything from complex logistics to grunt work, like coordinating supply delivery, hauling boxes and shoveling mud. While shooting in town, I stumbled across Mr. Kurosawa, leader of this town's crew from the Nippon Foundation, a Japanese NGO. After Mr. Kurosawa fooled me by saying he was the son of the legendary film director [psych!] he literally took me in, gave me a place to stay in this shattered town where there are no hotels or running water.

The crew comes from all over Japan and includes a pastor, a priest, several canoe-topped-van driving eco-tourism guides, a young man who works in a Buddhist trinket shop, a 6' 4" dead ringer for an American Indian named "Long Tall Toll" [ he smokes American Spirit cigarettes], and the Japanese Rasta-Man you see in the picture. A great bunch, to whom I'm immensely grateful.



______________ [ Japan's Triple Disaster_The Clean Room] __________________________

© David Butow
TOKYO-MARCH 20, 2011  A conference room at a sports stadium is turned into a makeshift laboratory as people who live near the Fukushima nuclear plant have been ordered to leaved their homes and relocate to temporary shelters. The first things the refugees are confronted with as they enter the complex are clean-suited men with Geiger counters. Like a scene from Don Delillo's novel White Noise there is a sense of fear of the unknown, and the unseen, but at the same time, there is a strange sense of calm and normalcy, as if everyone was always expecting this to happen.

The new arrivals are treated with dignity and respect, in expected Japanese fashion, as specially-trained Tokyo fireman slowly wave the instruments over the subjects.

___________________________ [ Japan's Triple Disaster_A City on Edge] _______________

© David Butow
TOKYO-MARCH 19, 2011  Although this city suffered little serious damage from the recent earthquake and tsunami that struck Miyagi Prefecture, the fallout, literally, from the Fukushima nuclear plant has the city on edge. Surgical masks, which are sometimes worn by Japanese to keep from spreading colds, are seen more more frequently than usual. Although government officials say there is no dangerous level of radiation in the air, unsafe levels have been found in some food and drinking water.

Three days on assignment in the city then making my way to Miyagi Prefecture. I'm eager to view the state of affairs there, since it's been a good two weeks since the tsunami struck.

_______________ [ Mercy ] ______________________________________________________

The book "Mercy" by James Whitlow Delano. Inside photo © Sara Terry
DECEMBER 12, 2010  I just received this copy of Mercy, a new photography book curated by Japan-based American photographer James Whitlow Delano. Holding it in my hand and seeing this work by Sara Terry among other great photographs, I'm reminded of the power of the still image, particularly in book format with fine printing. I'm honored to be included with dozens of professional photographers from around the world who contributed one picture each.

The book was inspired by James' experience with hospice care during his sister's recent illness and untimely death. Despite the tragedy, he had such a positive experience with her hospice caregivers that he channeled his energy by asking photo colleagues to donate one picture that conveyed the idea of "mercy". He then designed and produced the book, arranging to have proceeds from the sales contribute to hospice causes.

Mercy is a fine example of the power of photography not just to communicate, but to help good causes directly. The book is available through Amazon in Japan here: http://www.amazon.co.jp/gp/switch-language/product/4896251008/ref=dp_change_lang?ie=UTF8&language=en_JP

_______________________________ [Good Then, Good Now] __________________________

© Kenneth Jarecke
AUGUST 30, 2010  Take a look at this photograph and try to guess when it was made. You're going to have to look pretty hard at the skyline to narrow it down to a particular decade in the 20th Century. 30's, 40's, 70's? My good friend and contemporary Kenneth Jarecke shot it in 1990 on assignment for Time magazine.

Some pictures seem good right around the time they're taken, but if the photographer uses a trendy or gimmicky technique,  the picture will look dated pretty fast, and not in a good way,  like the photographic equivalent of a leisure suit. Actually, leisure suits looked bad even in 1974, but that's beside the point.

Other types of pictures, done in a straightforward, less thoughtful way, might be boring around the time they're shot, but a hundred years later they could be interesting because of the clothes, architecture and technology in the scene.

And then there are pictures that are good as soon as they're made-that stay good because of timeless aesthetics, strong photographic vision and something fundamental that's being captured. It doesn't matter if they're modern pictures taken in black and white, like Ken's, or these older pictures done in color by Farm Security Administration photographers in the 1930's and 40's.

http://blogs.denverpost.com/captured/2010/07/26/captured-america-in-color-from-1939-1943/2363/

The pictures are lovely to view, in part because they show us vignettes of America 70+ years ago, but mainly because they're just good pictures. Any documentary photographer, in any era, would be thrilled to have done this work.

Ken Jarecke has shot a lot of pictures that fall into this last category, and he's doing a special print sale this week because of a recent family emergency. Some of Ken's work captures historical moments like the first Gulf War and the Tiananmen Square democracy protests, but they don't need the historical context to be interesting, or stay interesting.  The pictures were good when he shot them, and they'll always be good. Please check out the work, there's not a leisure suit in sight.

Kenneth Jarecke Special Print Sale

_________ [From the Archive: A Letter from Banda Aceh] _______________________________

© David Butow
Written from Indonesia in January, 2005, about two weeks after a tsunami caused by an earthquake off the coast of Sumatra killed over 200,000 people in South Asia

The coastal city of Banda Aceh, Indonesia began to wake from its nightmare this week. In some parts of town life seems superficially normal. Shops and restaurants have re-opened and the streets are slowly clogging with scooters and trucks. But throughout much of city, there is a new reality. Whole neighborhoods are simply gone, leveled by the one-two punch of a major earthquake and the pummeling wave that smashed through concrete and twisted steel girders. In these areas it is wise to wear a facemask because the smell of death is still thick in the air.

It rains every afternoon now, and in the affected areas the streets never dry. Locals wade shin deep through the putrid muck and step gingerly in sandals across piled debris trying to salvage what they can from their homes or businesses, or those of their dead relatives. Digging through the rubble they collect and carefully rinse almost anything: soggy clothes, drinking glasses, scrap metal. A boy walks barefoot, feet blackened with sludge, past the partially covered body of another child. No one even glances at the black bags that still await transport to the morgue or to mass graves. Perhaps to stave off madness, the soldiers, who have spent nearly two weeks recovering thousands of dead, sing songs as they ride through town, gloved and masked, atop open-backed trucks.

The hospitals are still packed with survivors but some are dying, often from infections of relatively minor wounds that went untreated before care was available. At Kasdam, the military hospital, dozens of patients a day struggle with the choice of amputation or almost certain death from gangrenous limbs. In one crowded room, a young man reads to his convalescing wife. Out in the hallway, an older woman reads prayers next to her deceased husband while their small son lies exhausted on the floor.

From outlying towns the survivors continue to arrive, setting up shelters in increasingly cramped refugee camps. There is food and water but nothing in the way of plumbing or sanitation and the frequent downpours make the ground a muddy mess. People squint their eyes against the smoke from close quarters cooking fires and everyone seems to have developed a bad cough. A large truck pulls up and men crowd around, putting their names on a list for work clearing debris from businesses in town. The forty chosen will make about $3 each for the day.

Some of those who arrive are recently orphaned children and one boarding school takes in a few dozen of the thousands who are now without parents or immediate family. A visiting Malaysian aide worker has the children make crayon drawings of their tsunami experience. They draw waves and helicopters and simple stick figures lying on their sides, repeated over and over. Before leaving, the aide worker hands out balloons printed with smiley faces which the children use as noise-makers and impromptu volleyballs.

At the airport, there is the constant sound of planes and helicopters coming and going. Boxes of food, water and medicine pile up on the runway and in hangers. The writing on the tents of the relief teams assembled here illustrates that the world has found Banda Aceh: there is English, Chinese, French and Korean among others. In the hanger, a strapping female pilot from the Singapore Air Force consults with an Indonesian flight coordinator.

Suddenly a U.S. Navy helicopter crashes on approach and dozens of military personnel rush across several hundred yards of rice paddies to reach the wreckage. The once-formidable machine lies broken on its side and within minutes injured passengers and crew are extracted and airlifted to hospital ships. Ordinarily, this would be a major event here but this week in this city, it is just one more drama played out among so many.

To see more pictures of the Indonesian tsunami please click here http://davidbutow.com/pj_tsunami.htm

______________________________________ [An Evening at Century City] ______________

© David Butow

LOS ANGELES-AUGUST 13, 2010  Thanks to those who came out last night to see my presentation at the terrific Anneberng Space for Photography. Patricia Lanza and the rest of the crew know how to put together the royal treatment. From the heart of West LA we were able to see pictures and talk about China. As expected, the questions were all over the map: technical, aesthetic, and inquiries about the traits of the "Little Emperors". . I'm no China expert but did the best I could to describe my own experiences.

Mary, I hope you enjoy the book. Other guy: please chill out.

______________________ [Finally, an Upbeat Gathering] ______________________________

© David Butow

SAN FRANCISCO-AUGUST 7, 2010   Writers, photographers and TV journalists are often at scenes of horror and devastation. In fact, most people outside the profession assume that covering these types of stories comprises the bulk of our work. The definition of news involves change of some sort or another, and sudden change, a riot, revolution or natural disaster is often violent and tragic.

So against this backdrop of experience, how nice it was to cover a rally where people were actually happy about something. The last couple of "rallies" or gatherings I covered was the violent reaction to the Oakland BART police shooting verdict ("guilty", but just barely), and a Tea Party "party" where ordinary citizens are convinced they are under siege from the government and the left-wing establishment.

This week after California Prop 8 was struck down as unconstitutional, it's opponents (gay rights activists and other progressives) staged a march/party, complete with serious signs about constitutional rights and.....a spontaneous re-creation of one of the dance scenes from "Grease". Go figure.

_______ [Covering the 2008 Earthquake in China] __________________________________

© David Butow

Written in the Spring of 2008, a few days after I covered the massive earthquake in Sichuan, China. An edited version appeared in the online magazine DART (American Photography-American Illustration Design Arts Daily.)



Like many foreign photographers, I came to China this spring mainly because of the international attention generated by the upcoming Olympic Games. But when a huge earthquake hit Sichuan province, I found myself photographing this terrible event and dealing with challenges and dynamics I have not found in other disasters.

There are two ways to cover a logistically difficult news story like that: methodically, using carefully prepared professional resources, and then there is the way that I did it. In the first couple of days, many flights to Chengdu, the closest city to the disaster, were cancelled. Like any disaster, getting into the zone required staying flexible and aggressive. Even at the airport in Beijing, I could see that the full-time bureau chiefs had a leg up. Most were traveling with their Chinese assistants, usually slightly nerdy 20-something women carrying book bags who looked like they were headed for a college field trip.

But novices they were not. They wielded their Blackberry’s like swordfighters, rebooking flights on the spot and arranging on-scene drivers who would be waiting the minute they and their bosses stepped off the plane. They knew the most important areas to go and how they would get there before they’d even left the capital.

Unlike the bureau chiefs, I was working on the fly, with no assistant, no assignment and practically no language skills; just some cash, a backpack and a local cell phone filled with the numbers of Chinese friends who I would call constantly over the next several days to provide remote interpreting services with drivers.

Once in Chengdu, finding a driver that would actually take me to the scene was difficult. Many were concerned for their own families in town and were nervous about the danger of traveling into the earthquake zone. After locating one driver willing to make an exception for a generous fee, I decided to take a gamble and try to get to one of the more remote areas that had not been reported on extensively. At the end of the day, my driver and I reached a road where the bridge had collapsed, it was the end of the line for us, but I was able to spend some time photographing in the nearby fields had been turned into a makeshift army camp.

The scene was a time-warp, like something out of the American Civil War. There were thousands of soldiers and victims and tents but almost no medical supplies. I photographed in the camp for at least an hour, but when some army officials began questioning two European reporters who’d just shown up, my driver and I quietly slipped away.

The next day, I decided to travel to the city of Dujianyan, where there had been a lot of press coverage already, but which was relatively easy to get to and had suffered significant damage. Covered bodies were still lying in the streets. One of the hospitals in the city had collapsed, and outside hundreds of people had gathered trying to get word on their relatives, some of whom worked at the facility, others who were patients. Dozens of guards blocked the entrance and with no hope of getting inside, I mingled with the crowd. Raising a tiny black point-and shoot a camera, I was able to take exactly one picture before being waved away by one of the security guards.

This turned out to be an exception. There were a few times when I was not allowed to photograph, such as when I came to mass graves, but generally, in the first few days, as rescue workers, army and others tried to get a handle on the situation, photographers were allowed to work without restriction. The disaster area was too spread out and too dynamic for officials to control. And because much of the early press coverage was focused on the speedy mobilization of the rescue and relief effort, the government probably believed its country’s image was being enhanced. Contrasts were drawn between the response in Sichuan and that in New Orleans during Katrina.

Towards the end of the day, I came upon the scene of a multi-story apartment building which had been reduced to rubble. About ten relatives of some of those who had lived the building watched as a large scooper dug through the rubble. It seemed impossible that anyone was still alive but that did not deter one small young woman, wearing shorts and shower sandals, from periodically scrambling down in the rubble to peer through piles of debris calling out: “Ma??...Maaa!!??” The scene was so fluid I was barely noticed. I bit my lip and focused the camera in the fading light. Her mother was found shortly before dark. The outcome was not good.

I returned to Chengdu that night, and then transmitted and crashed in the hotel room of my friend Nelson Ching, a photographer with Bloomberg who had nice expense-account digs at the Sofitel. The first day had been nearly a bust, and the second, I felt like I had gotten on the scene too late. I was feeling outgunned and was ready to quit and go back to Beijing but was encouraged to stay on by my agent Marcel Saba of Redux. Besides, a journalist friend had just told me over the phone that a town called Beichuan was the place to go. "It's really fucked up.", he said.

The next day, after much negotiation with a driver, I rode up towards Beichuan. Our car was stopped at a roadblock quite a ways outside of town. Only official vehicles and motorcycles were allowed through, so I got out and negotiated with a motorcyclist to give me a ride in. Arriving in the late afternoon, I was not allowed in the heart of town so I spent the night on the stands of an athletic field that had been turned into a makeshift camp for rescue workers.

At dawn, I walked down the hill into a valley and into the heart of the town. The scene was jaw-dropping. Most all of the dozens of multi-story buildings had collapsed. Even days after the disaster, there were still many uncovered bodies as workers were focused on freeing any remaining survivors.

After spending an eerie hour wandering the town nearly alone, I came upon the scene of one such rescue. The heap from five collapsed stories of a building were on top of a man who was trapped in a space so small he could barely move. Leading the rescue was a calm, stocky, middle-aged fire caption from faraway Suzhou. His crew of about a dozen men worked, not frantically, but methodically, using gasoline powered saws and hammers, cutting away parts of rebar and concrete, slowly enlarging the tiny hole through which the man’s cries had been heard. They'd already been working for several hours to free the man, who was awake and speaking, but his voice was getting weaker.

The effort was dangerous and extensive, all to save one man barely clinging to life, in a town where thousands had died. Occasional aftershocks would rumble underneath our feet, threatening to send enormous heaps of debris onto the rescue workers.

A young volunteer doctor from a neighboring province crawled into the tiny space where the man could be seen and inserted an IV drip in his ankle. The doctor emerged, lab coat grimy, wiped the sweat from his face, and declared the man could live for about three more hours. The fire captain nodded confidently and said he could get the man out in about an hour.

The team had done hundreds of rescues, he said, but this was the most difficult. And because five days had passed since the quake hit, it would also probably be the last. I was able to keep track of progress because I had run into Sun, a bi-lingual newspaper photographer from Shanghai, one of the many Chinese who helped me navigate the situation.

At last the man was freed, placed on a stretcher and immediately carried away. I followed the team, photographing as they stepped gingerly across the debris, six men carrying the stretcher, one holding the IV as they tried to find footing. At one point the IV slipped out and they set the stretcher down, ironically, right next to the decaying body of someone just discovered. The IV reinserted, they picked him up again.

Suddenly there was shouting as people around us began to run. A high-ranking soldier appeared with a walkie-talkie and began frantically waving at our group to move quickly. Sun yelled: “David, hurry! The water is coming!!”. “But my bag is back there,” I shouted , “Forget it!" he said. "We have to go!” There was word that a dam upstream had broken, and water would soon be cascading in the town.

Everyone was ordered to evacuate as fast as possible. We scrambled across the rubble and over two rickety bridges and climbed up the hill to higher ground, a process that took at least a half-hour. The man and his rescue team had made it out. Walking out, Sun and I discussed the idea that had the evacuation come five minutes earlier, the firemen would probably have been ordered to abandon their efforts, and the man, conscious and aware he was about to be rescued, would have died.

Sun found a driver to take us to his hotel Mienyang, about an hour’s ride away. The jovial proprietor of the small hotel (average room was about $15 a night), was delighted a foreign journalist would be staying here. She began showing me dozens of photographs on the back of her digital camera, excitedly trying to explain in Mandarin that she had seen me and photographed me the day before. I was exhausted and in serious need of a shower so I tried to convey using hand gestures that she must be confusing me with some other white guy, and could I please have the key to the room.

Because my backpack was still at the rescue scene in Beichuan, I had nothing but my cameras and the clothes on my back. I took a shower, put my filthy clothes back on and went to dinner with my two new friends from Shanghai. After returning from the restaurant, I realized I'd left a belt bag with a couple of lenses at our table. We were not even sure of the name of the restaurant, but after Sun, his reporter colleague and the hotel staff did some detective work, they figured out the name, where it was, and we went back and got my stuff, which the restaurant staff had diligently put aside.

At dawn the next morning my new companions had other plans, but they arranged for the same driver who had gotten us out of Beichuan to take me back so I could shoot more and possibly retreive my backpack. The man was a volunteer, a guy from a city hundreds of kilometers away who thought his pickup truck might come in handy in such a place as a disaster zone. And indeed it did. We drove back carrying a soldier, myself, and a few other vagabonds. The driver asked the soldier to escort me back in the valley, which thankfully, was not flooded. We hiked down and retraced my steps from the day before, across the same sketchy bridges and through the same ruined streets. I was looking for the precise place where I’d left my bag when I saw someone wave at me. It was the fire captain from Suzhou I'd met from the rescue the day before. He was grinning ear to ear, and perched next to him was my trusty Arc’Teryx backpack.

I photographed in town for the rest of the day, at one point running into New York photographer Alan Chin who was on assignment for Newsweek. An opera could be written about Alan’s attempts to care for and/or mercy-kill an injured local dog. I will spare you all the details, but some of them include a bottle of cheap and potent Chinese liquor, a sanitary napkin, profanities screamed at a nurse, and his futile search for a firearm.

Nearing day’s end, I hired a motorcycle to take me back to Mienyang. As we rode through the mountains, getting father and farther from Beichuan, the scenes in the villages looked a little more normal. People were still constructing make-shift shelters but there were fewer damaged buildings and farmers were working in the fields. Wind blowing through my hair, I took in the view of the mountains and green fields in the warm, late-afternoon light. It occurred to me that this was exactly the sort of scene that leads many Western tourists to travel to China to experience and photograph, and for a moment I forgot about the terrible things I’d seen in Beichuan.

I found the same hotel from the previous night, and after a shower, the eager proprietor arranged a taxi to take me to a restaurant. It was one of many taxi rides in Mienyang I would not pay for because the hotelier would explain to the drivers that I was a foreign journalist and I was doing the Chinese a service by being there, and under no circumstances should they charge me a fare.

I went back to the same restaurant but it was already closed. I found a lesser place a few doors down and as I slumped in my chair sipping tea, in walked photographer/animal welfarist Alan Chin and his entourage, which included his assistant and friend, magazine journalist Joy Zhao, and their driving team, a cute, soon-to-be wed couple from Dujianyan. They were wearing matching pink t-shirts and looked to be about 16 years old. (A few weeks later in Beijing, a few of us presented Alan with a custom-engraved plastic trophy with his name in Chinese and the inscription "No. 1 Dog Rescuer").

The next morning it was time to get out of the area, transmit my pictures and plan the return to Beijing. The hotelier insisted on finding me a free ride back to Chengdu so she took me to a makeshift staging area where both volunteer and professionals drivers were picking up rides. As I got in the back of the car for the hour-long ride back to Chengdu, I met my seatmate, a neatly-dressed college-aged woman.

After we acknowledged each other with polite smiles, I began to scroll through the pictures on the back of my camera, eager to get a head start on the editing and looking forward to finishing the job and going home. At one point she glanced over to see what I was doing. I said “Beichuan” and showed her the image on the back of the camera. “I know,” she said in halting English, “my brother and sister died there.”

She explained her siblings had been in school in Beichuan during the quake, (most of the schools there collapsed), while she was safe at college in Chengdu. Fortunately, her parents had survived and her father had taken to the mountains in search of other relatives.

I had glanced into her eyes but completely missed any evidence of her loss. I was returning to Chengdu to get my computer and go to Starbucks where I would edit, transmit and hydrate. She was returning to school with half of her immediate family gone forever. I put my camera down and stared out the window for the rest of the trip.

A few weeks before in Beijing, a Tibetan monk had given me a small jade Buddha carving that I’d been wearing around my neck. As the young woman and I parted ways in Chengdu, I took it off and put it in her hand. It was all I could think to do.


To see more pictures of the Sichuan earthquake please click here http://davidbutow.com/pj_chinaquake.htm