Photographer Attila Durak: Strive to Be a Vehicle for the Story

© Photo : Attila DurakAttila Durak, Turkish photographer, co-founder and curator of the FotoIstanbul festival
Attila Durak, Turkish photographer, co-founder and curator of the FotoIstanbul festival - Sputnik International
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“Cultivate personal energy that will make people want to talk to you and invite you in. You should strive to be a vehicle for the story”, says Turkish photographer Attila Durak, member of the Andrei Stenin International Photo Contest jury.

As part of the Andrei Stenin International Photo Contest, organized by Rossiya Segodnya International Information Agency, the agency's Press Service has conducted a series of interviews with the jury members — the most prominent photography and art figures. Attila Durak, Turkish photographer, co-founder and curator of the FotoIstanbul festival, shares his opinion on the development of global photojournalism.

What prompted your decision to join the jury of the Andrei Stenin International Press Photo Contest?

Everyday, photojournalists like Andrei Stenin go into the field hoping to capture images that will communicate the reality of conflict, also knowing that they may not make it back alive. I see this as more than just a photo contest. It is also an opportunity to acknowledge the bravery and courage of photojournalists working in war zones.

What kind of future do you see for photo contests, and what do you think of amateurs taking part in them?

Photo contests are a way for photographers, especially amateurs, to get feedback and see where they fit into the spectrum of talent exhibited by their peers. They are an opportunity for building confidence and also building community. In addition to that, it gives them an opportunity to take themselves seriously and to treat their craft as a profession.

The gender issue in photojournalism: Should a woman be a war correspondent?

Shouldn't women be war correspondents? Even though there are very few, women have broken into this field. And it seems that their numbers will grow. If the assumption is that men and women live in and view the world differently, wouldn't we want to see both sides, so to speak? If not, then this question has no place here.

Has the geographical map of world photography changed over the past 10 years? If yes, how?

The map changes according to geopolitics. Photographers follow the compelling stories, and those are often to be found in areas of natural disaster and in conflict zones. 10 years ago the hotspot was Iraq, during the beginning of the second Gulf war. Since then, Afghanistan, Arab Spring, the tsunamis in Japan and Thailand, and most recently Syria, and the Gezi uprising in Turkey have all served as hotspots on the map of world photography. They are really too numerous to mention.

How are digital and other media formats influencing the professional standards of photojournalism?

Digital technology has made the photojournalist's life easier. They can communicate their images more quickly and more easily. An increasingly important component of professional photojournalism is the ability to turn images around quickly and distribute them widely. It is no longer enough to say, "I was there." Now it has to be more along the lines of "Here are my images, and I am STILL here. Stay tuned." 

What advice would you give to someone who decided to take up professional journalism?

Make sure that you are committed to being in the field. Cultivate personal energy that will make people want to talk to you and invite you in. You should strive to be a vehicle for the story.

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