Gaffer Tape and Bed Sheets

Shooting a series of portraits in a conflict zone poses unique problems and risks. Gaining the trust of opposing groups is tricky and this is difficult to achieve without the help of a local ‘fixer.’ A fixer is the unsung hero of journalism. They act as translator and guide, arranging interviews and access that the correspondent wouldn’t be able to alone. This is often at great personal risk as they tread a fine line between opposing factions.

Meetings were set up with stone pelters and security forces. Both sides were naturally hesitant, so the portraits needed to be shot quickly in case anyone changed their minds. There was no question of using studio lights as everything needed to be very discreet (and i didn’t have any). I was told that the stone pelters would be at an undisclosed location in a safe house and the security personnel would be available for a few minutes at their barracks.

I purchased a bed sheet at a local market and along with a roll of Gaffer tape that I always carry, the ‘studio’ set up was complete. The sun was to provide the lighting.

We met with our contact who we then followed a short way out of the city. We were led down an alleyway to a house where everyone was waiting. Your worry is that you have been followed as you don’t wish to put anyone in danger for agreeing to be interviewed and photographed. Tea was offered and drunk as is customary and interviews were given. During this time, from the moment you arrive at your location, a series of questions runs through my mind - where can I take my pictures? Is this room too dark, is it too small? Will they change their minds before I shoot anything?

After a short time, a room was selected, not ideal but it was all we had. Pictures were shot and we were on our way to the barracks for session number two.

When we got to the barracks, the group we were to photograph were still on patrol so I had few minutes to set up my Gaffer tape and sheet ‘studio’ in the front yard. The light was dipping so the pressure was on to shoot as fast as possible. It’s important to note that if the security forces had known that we had just driven from a safe house full of stone pelters, things could quite quickly have taken a turn for the worse!

The police officers arrived and pictures and interviews were given simultaneously as the useable light was almost gone at this point. During the shoot we started to receive messages alerting us to some civil unrest across the city. Within a couple of minutes the studio was disassembled and we were on our way.