Change the world with a shoot | Antonio Amendola | TEDxLakeComo
-
0:08 - 0:10Eighteen minutes to talk about...
-
0:11 - 0:15to talk, to try to talk about
the good use of the world when, -
0:15 - 0:16a short distance from here,
-
0:16 - 0:20we have damaged Liguria, Genoa.
-
0:21 - 0:23Eighteen minutes
not to talk about photography -
0:24 - 0:26but to talk, to try
to convince you, if I can, -
0:26 - 0:30of how small and big stories,
-
0:30 - 0:33can bring a small social change
-
0:33 - 0:35and change not the world but our worlds.
-
0:37 - 0:42Now, 17 minutes and 30 seconds
to tell you about the birth of my idea, -
0:42 - 0:45the foundation of Shoot4Change,
how I had it, how I developed it, -
0:45 - 0:47how it is growing
and how it is consolidating. -
0:48 - 0:51Shoot4Change was actually born
almost by chance - -
0:51 - 0:54as it often happens
to understand in retrospective. -
0:54 - 0:56It was born as a blog.
-
0:56 - 0:58With an old expertise,
-
0:58 - 1:01an old personal story of blogging
and travel photography, -
1:01 - 1:04I started a new one
after the earthquake in L'Aquila, -
1:04 - 1:07and just on the eve of the World March
for Peace and Non-violence, -
1:07 - 1:08two years ago,
-
1:08 - 1:15blogging on the social change potential
of the great photographs of the past. -
1:15 - 1:16In a short time,
-
1:16 - 1:20a community started to develop,
even if I didn't feel its presence. -
1:20 - 1:21At the same time
-
1:21 - 1:23as the World March
for Peace and Non-Violence -
1:23 - 1:25started from Oakland two years ago,
-
1:25 - 1:28I was contacted by the organizers
of the march from Oakland, -
1:28 - 1:34and they asked me to cover the event
of the march while passing by Rome. -
1:34 - 1:35Having other parallel lives -
-
1:35 - 1:38because Shoot4Change
is my second parallel life. -
1:38 - 1:42Sometimes I feel not so much
like Clark Kent and Superman -
1:42 - 1:44but more like Donald Duck or Goofy
-
1:45 - 1:47and their undercover alter ego
for the parallel lives. -
1:48 - 1:52So they ask me to cover the march
but I was not available that day in Rome, -
1:52 - 1:56and so I published a post that I titled,
-
1:56 - 1:59probably in a manner
even a little too provocative, -
1:59 - 2:01"Call to the Photographic Weapons".
-
2:01 - 2:04See how this oxymoron often returns
in our terminology. -
2:04 - 2:06Shoot4Change is already an oxymoron
-
2:06 - 2:10because in English shoot means
at the same time to take a picture -
2:10 - 2:11but also to shoot,
-
2:11 - 2:14and change is both the social
change but also money, -
2:14 - 2:17so much so that during
the first days of life of our network, -
2:17 - 2:20it became a network of volunteers
from all over the world, -
2:20 - 2:22I had a big peak of accesses
from Washinghton! -
2:22 - 2:25Evidently they feared
that we were a group of mercenaries -
2:25 - 2:27shooting for money!
-
2:27 - 2:28Then they reassured themselves
-
2:28 - 2:32and realized that we are actually
just poor street photographers. -
2:32 - 2:35So, I made this call
to the photographic weapons, -
2:35 - 2:36and in a few hours
-
2:36 - 2:39My mailbox was literally
overloaded with messages -
2:39 - 2:43and in a few days we managed to cover
not only Rome, not only Milan -
2:43 - 2:46but most of Italy down to Lecce.
-
2:46 - 2:48New York, San Francisco followed,
-
2:48 - 2:50until we reach the end in Argentina,
-
2:50 - 2:54on the peaks of the mountains of Argentina
where the march ended its journey. -
2:54 - 2:57Well, there I understood
that maybe something could be done. -
2:58 - 3:00I understood that people wanted
to go down the street -
3:00 - 3:02and tell their own story.
-
3:02 - 3:05Their stories, from their
own point of view. -
3:06 - 3:08So we started, we kept blogging,
-
3:08 - 3:13asking people to not only
to tell us their stories of proximity - -
3:13 - 3:16one of our slogans, of our claims
is "Shoot Local, Change Global" - -
3:17 - 3:19but to come and do it with us,
-
3:19 - 3:23or to ask us for help
when they were unable to do it alone. -
3:25 - 3:28One of the messages that I try to convey,
that we try to convey, -
3:28 - 3:30with our activities
and with our reportages -
3:30 - 3:32is not only to tell a story
-
3:32 - 3:34but not to pretend
that we must necessarily emulate -
3:35 - 3:37the great photographer
of the National Geographic - -
3:37 - 3:40by the way many of them
are our voluntary members, -
3:40 - 3:43from Ed Kashi in New York
for National Geographic USA -
3:43 - 3:46to Alfonso Rodriguez
National Geographic Spain -
3:46 - 3:49and other great professionals,
-
3:50 - 3:52but that with our motto
“Shoot Local Change Global” -
3:52 - 3:54it is enough to go down to the street,
-
3:54 - 3:57perhaps armed just
with a compact camera, a smartphone, -
3:57 - 3:59and tell the stories of proximity.
-
3:59 - 4:01What we called Social Photography Km0.
-
4:01 - 4:04Hence the claim
Shoot Local, Change Global. -
4:04 - 4:08The aim, or rather at the end the result
that we have achieved -
4:08 - 4:11and that we are achieving
and that we are consolidating, -
4:11 - 4:14is an invitation to raise awareness,
to observe what happens, -
4:14 - 4:20to attentively look
at the reality that surrounds us, -
4:21 - 4:24asking people to take an active part
in a social change. -
4:24 - 4:27For us, our concept of social photography
is not only to stimulate, -
4:27 - 4:30to give a punch
in the stomach of the readers -
4:30 - 4:32by leveraging the classic
aesthetics of pain, -
4:32 - 4:35the drama of images, of tragedies.
-
4:35 - 4:37We ask for a contribution.
-
4:37 - 4:40And above all, we try to tell
those positive stories, -
4:41 - 4:44ordinary or extraordinary,
that in our small way behind the house, -
4:44 - 4:46bring a relief,
-
4:46 - 4:49a positive change
in situations of social distress. -
4:49 - 4:51There are a myriad of stories.
-
4:51 - 4:54Many small or very small
or tiny one like, in some cases, -
4:55 - 4:57those of associations of volunteers
that nobody knows. -
4:57 - 4:59We tell them for free,
-
4:59 - 5:02we lend ourselves for free
to make professional photographic services -
5:02 - 5:04to those who cannot afford it.
-
5:04 - 5:09So, we bring to the public attention
in a logic of true citizen journalis, -
5:09 - 5:11those stories that are not
considered remunerative -
5:11 - 5:14by the information Main Stream,
and thay are many. -
5:14 - 5:16Some people accused us
at the beginning, above all, -
5:16 - 5:19of being the ones who work for free
and who disrupt the market, -
5:19 - 5:23and destroy photo agencies or newspapers
because they work for free. -
5:23 - 5:25That's not the case.
I often answer these people: -
5:25 - 5:29"Would you ever tell the story
of a small homeless shelter?" -
5:29 - 5:30They say "No." "And why not?"
-
5:30 - 5:32"Because no one would buy that story."
-
5:32 - 5:35"Would you ever go
into a refugee shelter?" -
5:35 - 5:38"No, I wouldn't do that because
no one would buy me those pictures." -
5:38 - 5:39We do it.
-
5:40 - 5:43Over time I developed this concept
of Crowd Photography. -
5:43 - 5:45I often remember,
I often quote on such occasions, -
5:45 - 5:49the old and famous African saying,
"If you want to go fast, go alone. -
5:49 - 5:51If you want to go far away,
go with others". -
5:51 - 5:53A photographer is enough to tell a story,
-
5:53 - 5:57two are better off and three,
maybe four are even better. -
5:57 - 5:59Then it starts to get messy, of course.
-
5:59 - 6:00But the more the better,
-
6:00 - 6:03because each story
can be seen with 360 degrees angles, -
6:03 - 6:06360 points of view to be told.
-
6:06 - 6:08And this enriches the story.
-
6:08 - 6:10The concept of Crowd Photography
-
6:10 - 6:13is a concept according to which
almost all our projects - -
6:13 - 6:14we try, we don't always succeed -
-
6:14 - 6:17are the result
of the creative contribution -
6:17 - 6:19of people who maybe don't know each other.
-
6:19 - 6:22And believe me, our method
is growing and consolidating, -
6:22 - 6:25not only with photographers,
but with creatives of all kinds. -
6:25 - 6:28We have painters and designers
who draft our logos and graphics. -
6:29 - 6:32We have musicians who compose
and give us the music for our clips. -
6:32 - 6:34We have journalists, we have writers.
-
6:34 - 6:38We have all those who want
to put ideas online and share them, -
6:38 - 6:40and add a piece to the story
with their ideas. -
6:41 - 6:44We try to be unconventional
in our stories. -
6:45 - 6:48Also here, we often succeed,
sometimes we fail. -
6:49 - 6:50For example -
-
6:51 - 6:53this is just an example out of many -
-
6:53 - 6:56can a photo of a horse, or a series
of photos of undernourished horses, -
6:57 - 6:59tell us about the economic
recession in Europe? -
6:59 - 7:02Yes, it does. This is a reportage
that one of our Italian members, -
7:02 - 7:05who has lived for many years,
he's very young, in Ireland, -
7:05 - 7:08has never been able
to place in any Irish magazine, -
7:08 - 7:09because it seems in Ireland
-
7:09 - 7:12they don't want to talk about
these social stories -
7:12 - 7:15because, say the magazines,
they give a distorted image of Ireland. -
7:15 - 7:20He discovered that one of the unexpected
consequences of the economic recession -
7:20 - 7:21is that many Irish,
-
7:22 - 7:24who have typically always been very keen
-
7:24 - 7:28to buy horses,
-
7:28 - 7:31sell their horses in some fairs
-
7:31 - 7:34run by the Irish Mob
in the suburbs of Dublin. -
7:34 - 7:37And they sell for 20, 30, 40 euros
-
7:37 - 7:38already malnourished horses.
-
7:38 - 7:41Obviously the kids, driven by enthusiasm,
-
7:41 - 7:43buy them or barter them for mobile phones,
-
7:43 - 7:45except after two or three days,
-
7:45 - 7:47no longer being able
to afford the management, -
7:47 - 7:49not knowing obviously
where to put them at home, -
7:49 - 7:51abandon them in the suburbs of Dublin.
-
7:51 - 7:53It's a story no one wanted to buy.
-
7:53 - 7:55We published it.
It's been on the internet, -
7:55 - 7:59and it's an unconventional way
to tell an episode of world news, -
7:59 - 8:02unfortunately,
like the economic recession. -
8:03 - 8:07But we do not only tell unhappy stories
but also very positive ones. -
8:07 - 8:11This is one of a thousand examples
of projects that we keep every day. -
8:11 - 8:13Like this story of the Liberi Nantes,
-
8:13 - 8:17a sports club we've been following
for years in Rome. -
8:17 - 8:21It is a club composed
of political refugees and asylum seekers, -
8:21 - 8:24which uses sport to free them
of the memory of the tragedies -
8:24 - 8:25from which they escaped.
-
8:25 - 8:28We entered a refugee in Rome,
La Casa di Giorgia, -
8:28 - 8:33a refugees shelter that gives hospitality
to women asylum seekers, -
8:33 - 8:36and we discovered
that these women, these girls, -
8:37 - 8:42had never been in the center of Rome
despite having been in Rome for months, -
8:42 - 8:44in some cases even a year,
-
8:44 - 8:48for fear of traffic, the city,
pollution and Italians. -
8:48 - 8:50They got themselves imprisoned
in thei rown cage, -
8:50 - 8:53which they had built themselves,
of commonplaces. -
8:53 - 8:56So we divided them into various groups,
-
8:56 - 8:59we gave each one of them compact cameras,
-
8:59 - 9:02some of our girl photographers
were accompanying them, -
9:03 - 9:06also for a matter of greater ease
-
9:06 - 9:12in reaching empathy
between teacher and pupil. -
9:12 - 9:14We taught them roughly and quickly
-
9:15 - 9:16to use a camera
-
9:16 - 9:20and we went around with them over a month
and a every weekend in Rome, -
9:21 - 9:24literally taking them with us,
dragging them with us. -
9:24 - 9:26They had a great time.
-
9:26 - 9:30The camera with which
they then portrayed their Rome -
9:30 - 9:36was a filter that made them focus
on looking at Rome through a box. -
9:36 - 9:37The thesis of our project
-
9:37 - 9:40is that a city you know
is a city you recognize over time -
9:40 - 9:44and a city you recognize,
through your own photographs, -
9:44 - 9:46is a city in which you find
a level of trust -
9:47 - 9:49that allows you to recreate
and regain possession -
9:49 - 9:52of some social dynamics and,
eventually, inclusion. -
9:52 - 9:55The small photographic
exhibition we launched -
9:55 - 9:59after this project has gone around Rome
and is starting to go around Italy now. -
9:59 - 10:00It was a huge success.
-
10:00 - 10:02Many other centers
are asking to replicate. -
10:02 - 10:05These little photographs
may have changed the world. -
10:05 - 10:07Now I'll try, in the
few minutes I have left - -
10:07 - 10:11I don't see it on the screen anymore,
seven minutes and 48 seconds - -
10:11 - 10:13to dismantle this concept.
-
10:13 - 10:15That's probably not true,
-
10:15 - 10:18I told you something maybe stupid,
photography doesn't change the world. -
10:19 - 10:20Rather…
-
10:22 - 10:23Take this person, for example.
-
10:23 - 10:26I met him in Cairo,
in the "City of the Dead". -
10:26 - 10:27Someone may know it,
-
10:27 - 10:29it is the old monumental cemetery in Cairo
-
10:29 - 10:32where over the years hundreds
of thousands of people, -
10:33 - 10:37mostly from the first waves
of Palestinian refugees, -
10:37 - 10:38years ago,
-
10:38 - 10:41found accommodation
in and among the tombs, -
10:41 - 10:44in the mausoleums of the old
Cairo monumental cemetery, -
10:44 - 10:48creating a real society within Cairo.
-
10:48 - 10:51Cairo considers these people
to be outcasts of society, -
10:51 - 10:53considers them immoral
because they live among the dead. -
10:53 - 10:55They have recreated their own ecosystem,
-
10:56 - 10:58their own social environment
in absolute equilibrium. -
10:58 - 11:01Yet they do not exist for others.
These people live there. -
11:01 - 11:04This man had started
as the guardian of this mausoleum -
11:04 - 11:08and over the years he moved in
with his family. -
11:08 - 11:09I took a picture,
-
11:09 - 11:11it started going around the internet.
-
11:11 - 11:14It eventually didn't change his world
or the world in general: -
11:14 - 11:16I came back and he's still there.
-
11:16 - 11:21These people, too,
live in the City of the Dead -
11:21 - 11:23and when I asked her to take her picture
-
11:23 - 11:28this old lady with her grandchild,
she posed next to this tomb, -
11:28 - 11:31let's say the family tomb
in their courtyard. -
11:31 - 11:33I asked if he was their relative,
-
11:33 - 11:34and they said:
-
11:34 - 11:36"No, but we've lived here for many years,
-
11:35 - 11:36it's as if he were.
-
11:36 - 11:38We'd like to have a portrait with him."
-
11:38 - 11:41This photograph
hasn't changed their world, -
11:41 - 11:43they still live there among the dead.
-
11:43 - 11:45This other person, moving on, is Sergei.
-
11:45 - 11:50Sergei lives in a homeless shelter.
-
11:50 - 11:53From a semantic point of view,
this is something that makes me uneasy. -
11:53 - 11:56Do we really need to define a person
for what he doesn't have -
11:56 - 11:58instead of what he has: homeless.
-
11:59 - 12:00He is Russian.
-
12:00 - 12:02For many years now he's been on the street
-
12:02 - 12:04and no longer speaks to or of his family.
-
12:04 - 12:06When he asked me for a portrait,
-
12:06 - 12:07he asked me to do it in half
-
12:07 - 12:11because he says that he's missing
something in his life. He's missing a lot. -
12:11 - 12:13I came home, he's still there.
-
12:13 - 12:17This picture, probably beautiful or not,
has gone around the internet; -
12:17 - 12:18it has not changed his world.
-
12:19 - 12:22Carmine also lives
in that homeless shelter. -
12:22 - 12:23He lives in his own world:
-
12:23 - 12:25he says he grows bees, loves his bees.
-
12:25 - 12:27He no longer talks about his family,
-
12:27 - 12:29he closed himself
in an embarrassing silence -
12:30 - 12:32when asked about his story.
-
12:32 - 12:35This photo hasn't changed his world,
he still lives on the street. -
12:36 - 12:39There are many examples,
I need to speed up a little bit. -
12:39 - 12:41These are photos of the boats
-
12:41 - 12:45with which the refugees
from the Middle East arrive in Lampedusa. -
12:45 - 12:47And they keep coming every day.
-
12:47 - 12:51They escape from their countries,
from their human and social tragedies. -
12:52 - 12:54This photo hasn't changed their world
and they keep coming, -
12:55 - 12:57yet I told their story.
It served no other purpose. -
12:57 - 12:59This person lives in a refugee camp
-
12:59 - 13:01in Bourj el-Barajneh,
on the outskirts of Beirut. -
13:02 - 13:03It's a huge refugee camp,
-
13:03 - 13:06but it's not mapped
in the city of Beirut map. -
13:06 - 13:08He sells in the street, in the heat.
-
13:08 - 13:12He goes around the camp
selling ice creams. -
13:12 - 13:13He sweats, he sweats a lot.
-
13:13 - 13:15He walks and sells ice cream
-
13:15 - 13:18in a place where everyone grows up
without social rights. -
13:18 - 13:20This photo hasn't changed his world.
-
13:20 - 13:23He's still there selling right now,
well now he's sleeping, -
13:23 - 13:26but tomorrow morning he'll get up
and will continue to sell ice cream. -
13:26 - 13:28In the same camp I met this little girl.
-
13:28 - 13:33For her, that Refugee Camp,
she told me - that is, they translated - -
13:33 - 13:34was her big playground.
-
13:34 - 13:36She found it immense, enormous.
-
13:36 - 13:39She doesn't know she is growing up
without any rights -
13:39 - 13:43in a place not even mapped,
as I told you, in the city of Beirut. -
13:43 - 13:46She'll probably be there
all her life, without rights. -
13:46 - 13:48Not only has this photo
not changed her world now, -
13:48 - 13:52it will not have changed it
in the next 20, 30 or 40 years either. -
13:52 - 13:56So, their world hasn't changed.
Photography probably didn't do any good. -
13:56 - 13:58My photographs have been
a hole in the water -
13:58 - 14:03and probably simply fulfilled their task
of tickling my egocentricity -
14:03 - 14:05in showing them to you,
-
14:06 - 14:08a very typical characteristic
of us photographers, -
14:08 - 14:10to be rather egocentric.
-
14:10 - 14:11They are still there.
-
14:11 - 14:14What has probably changed, however,
-
14:14 - 14:17is in the person who took the photograph.
-
14:17 - 14:20Because I'm back,
I know those stories now. -
14:20 - 14:23I know they'll get up tomorrow morning
and will still be there. -
14:23 - 14:25I know that there is someone
-
14:25 - 14:27who still lives
around the corner of my house. -
14:27 - 14:29I know that if I only decide to go down
-
14:29 - 14:32there are a thousand situations
of social distress -
14:32 - 14:33that I can and must tell.
-
14:34 - 14:36So, you now...
-
14:37 - 14:39Somehow I fooled you.
-
14:39 - 14:42I told you that social photography
doesn't change the world -
14:42 - 14:44but now you know those stories too.
-
14:44 - 14:46Because, as we often say,
-
14:46 - 14:50there are stories
that must and can be told. -
14:50 - 14:54And it's probably the narration
of these little big stories, -
14:54 - 14:58asking people to go down the street
and tell them with us, -
14:58 - 15:00that changes the world eventually.
-
15:00 - 15:02This is our concept
of good use of the world. -
15:02 - 15:04It's good use not of naive people.
-
15:04 - 15:07We are not dreamers, we are not idealists,
we are not activists, -
15:07 - 15:12we do not take part in social changes,
-
15:12 - 15:15political movements, etc.
-
15:15 - 15:16We tell stories.
-
15:16 - 15:19We do it in a neutral and free way
for those who cannot afford it. -
15:19 - 15:21Because there are stories
that must be told, -
15:22 - 15:26stories that want to be told
and stories that have to be known. -
15:26 - 15:27Thank you.
-
15:27 - 15:29(Applause)
- Title:
- Change the world with a shoot | Antonio Amendola | TEDxLakeComo
- Description:
-
41 years spent between laws, decrees, new technologies, cameras, blogs, travel, old maps and GPS. Founder of Shoot 4 Change (www.shoot4change.net), an international network of volunteer social photographers, persuaded that life is beautiful and its beauty can be conveyed through "ugly" photographs that inspire others to make a social change within their communities.
This talk was given at a TEDx event using the TED conference format but independently organized by a local community.
Learn more at http://ted.com/tedx
- Video Language:
- Italian
- Team:
- closed TED
- Project:
- TEDxTalks
- Duration:
- 15:36
Michele Gianella edited English subtitles for Cambiare il mondo con uno scatto | Antonio Amendola | TEDxLakeComo | ||
Michele Gianella approved English subtitles for Cambiare il mondo con uno scatto | Antonio Amendola | TEDxLakeComo | ||
Michele Gianella edited English subtitles for Cambiare il mondo con uno scatto | Antonio Amendola | TEDxLakeComo | ||
Nicoletta Pedrana accepted English subtitles for Cambiare il mondo con uno scatto | Antonio Amendola | TEDxLakeComo | ||
Michele Gianella edited English subtitles for Cambiare il mondo con uno scatto | Antonio Amendola | TEDxLakeComo | ||
Michele Gianella edited English subtitles for Cambiare il mondo con uno scatto | Antonio Amendola | TEDxLakeComo |