Framing the world from a new angle National Geographic's Steve McCurry visits Middlebury

Author: H.K. Merriman

Photographer Steve McCurry spoke and showed photographs to an overflowing Dana on Sunday. McCurry, a member of Magnum Photos whose pictures frequent the pages of National Geographic, is most famous for his photo of Sharbat Gula, the "Afghan Girl" with the striking green eyes, that was featured on the cover of the June 1985 issue. In his talk, McCurry spoke of this photo and the follow-up story "Found" that National Geographic ran in 2004. He also displayed some of his most recent photographs that characterized his diverse interests, the broad scope of assignments and his worldly travels.

C.A. Johnson Fellow in Political Philosophy Kateri Carmola described the photo of Sharbat Gula as "the face of modern warfare - female and displaced and yet, defiant." McCurry elaborated on this idea and showed his original pictures of Gula, revealing that she was shy and difficult to photograph until her teacher encouraged her that her picture would serve as a means of informing others of the lives of the thousands of Afghani refugees living in Pakistan. McCurry's philosophy of photography mirrors the Afghani teacher's words.

"You have to continually remind yourself that these people's stories have to be told, and the only way to make the world a better place is to inform people," McCurry responded to the question of whether or not his line of work has caused him to become desensitized.

The story of Gula is certainly being told. McCurry described the infiltration of his office with requests to use her picture.

"Literally everyday people want to use that picture for something - they want to paint it, they want to write about it, they want to make a carpet out of it," he half-joked.

McCurry and National Geographic are helping the photographed subjects more than by simply raising awareness. When McCurry re-found Gula, he paid her a royalty for every painting, article or carpet, as it were, that was made using her photograph. McCurry clarified that whether or not he pays his subjects changes on a case-by-case basis, but he emphasized that he pays the photographed for their time, not their performance. In response to Gula's situation, National Geographic also established a school for girls in Kabul and enabled Gula's dream of a pilgrimage by paying for a trip to Mecca.

McCurry reiterated the photographer's ethical responsibility to be respectful to his subjects, especially when photographing them at their most vulnerable. The week prior to his trip to Middlebury, McCurry was in Vietnam on a project for the United Nations that required him to work closely with the terminally ill.

"It was a global AIDS project looking at when these people become sick and start treatment, how dramatic the turn-around is in four months," McCurry explained. The images in this recent McCurry series elicited audible responses from the audience who gasped and sighed at the emaciated figures and the scene of a mother and child burying the father.

"We tracked four AIDS victims. Unfortunately, three died before the project was finished," McCurry recounted.

The seemingly ever-upbeat McCurry said that being able to show just one positive response to the new AIDS treatment and the man's ability to return to work made the trip a success.

After his stay in Vietnam, McCurry flew to Milan for a fashion shoot. "The contrast, the juxtaposition is fascinating," he said.

McCurry's real passion, however, is photographing Southeast Asian, specifically Buddhist, cultures. In these countries he has captured the images of a great variety of people, from Buddhist monks to the homeless to famous political figures like the Dalai Lama and Aung San Suu Kyi. His direct exposure to foreign situations has shaped McCurry's opinions of Southeast Asian religion and government.

"One of the great things about what I do is that you can see situations for yourself. It's unfiltered. You don't have to be told about it from media or politicians," McCurry said. "Being in the place and having the experience is as meaningful, if not more meaningful, than having the photograph in the end."

In an effort to help his viewers have a similar experience to his direct observation through the photography, McCurry never alters his digital images more than color and tonal adjustments. To heavily edit the photograph, he said, would be unethical.

McCurry expressed that he feels blessed to be able to share the stories of his subjects.

"I always wanted to find a line of work that would be fun and actually wouldn't be work - just wandering the world taking photographs," he said.

The work of McCurry, though, depicts more than the travels of a wanderer lacking direction. His photographs inform their viewers of the diverse cultures of the world.

"I don't think photographers change the world, but I think they make a small difference," McCurry said.