Haiti in Photos (Part 1)

  • Posted on: 5 January 2008
  • By: Bryan Schaaf
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In the mass media, when one sees photos of Haiti, it usually involves one of two things - a natural disaster or a protest.  Though deforestation has damaged much of the country, Haiti remains beautiful.  If photographs speak a thousand words, photoblogs are able to convey that much more.  Below are some websites that feature either photo blogs or collections of photos from Haiti.  If you know of others, we can post them as well.


Martin Baran (Slovakia): Excellent photos of Port au Prince and the Central Plateau. He definitely gets around the country. His flicker site is here.





Patrice Douge: Good shots of Jacmel, Kenscoff, and the countryside.  I particularly like the photos of artists.





Galen Frysinger:  Hailnig from Sheboygan, Wisconsin, not far from where I grew up, Galen has put together a very impressive gallery of photographs from Haiti and other Carribean countries as well.  






Travel Pod:  Shots from different travellers to various parts of Haiti.






Marc Hare:  Particularly good shots of the Central Plateau and Route National Tree, pictured to the left.  Makes my back hurt just thinking of all the trips I've made on that road.






Trek Earth:  Collection of photos from various photographers in Port-Au-Prince and other locations.  Some photos of RAM performing as well.





The Lambi Fund:  This NGO has set up a small photo gallery.  Some of the pics of the Artibonite are excellent.





Flicker/Haiti:  If you have a lot of patience, you can scroll through the many shots of Haiti on Flickr using this link.   You can find Haiti Innovation's photos, which we store on Flickr,  by clicking here.


Haitians are at their highest level of achievement right now; standing in sewage crying for whitey to feed and clothe them while screaming racism. Mother Nature hates negroes and is desperately trying to be rid of them all over the world. It would be best to not interfere with her wisdom.

I was tempted to delete your comment because it is offensive and misguided. However, you are entitled to have and express an opinion even if I do not agree with it. Haiti may not have invented corrugated metal or plastic, but it did bring us the world's first free black republic. As this was a threat to "whitey", as you say, foreign powers have manipulated Haiti to their own ends since their freedom. Pick up a history book if you do not agree. There is much that is right about Haiti. You, unfortunately, represent the part of my country that is wrong. I hope for peace for all countries, be they rich, poor, black or white. I hope also that you will come to feel the same way.

i was struck by the comments of the first individual who posted, initially infuriated, then saddened. Saddened because a real understanding of Haiti and the Haitian people is missing from his/her life. I was recently given the opportunity to live in PAP for 4 months and work as an English teacher in a orphanage. In those 4 months, I was able to really experience the Haitian culture, and understand how beautiful and inspirational a country that has been so plagued can be to those of us who are so focused on material possessions and commercialism.
I did not find any Haitians standing and crying, all were standing, moving forward with their heads held high. I found none calling for "whitey" to help, but many very graciously accepting the few things I had to aid them. And none screamed racism, many children yell "blan" as a young white girl walks through the street, but as i responded to them in kreyol that i was named nikki, not blan... they giggled and ran to me for a hug or a high five everytime i left the orphanage. If their is racial tensions, they know where the anger needs to be placed and i was not looked at any differently for being white, absolutely not as though I, or "my people" had once oppressed them.
I hope others who have had amazing Haiti experiences can speak out on them. And I will pray for your ability to see outside of yourself, and into the beauty that is Haitian cuture.

You seem misinformed. Your comment, frankly, displays a high level of ignorance.

One of major causes of Haiti poverty were sanctions put in place by the U.S. government and other foreign powers. The cause of the sanctions was in response to Raoul Cedras's coup. Although these sanctions were intended to stop Raoul Cedras's military regime, they strengthened it.

Because the sanctions were a failure they resulted in 60% percent of the private sector losing their jobs, this affected nearly 1 million people. Haiti's export industries were forced to shut down, and many of them did, permanently. The U.S. embargo restricted the transhipment of all goods, this led to a shortage of goods, which subsequently led to malnourishment and increased rates of death among children.**www.american./edu/TED/haiti.htm.

Political and economic instability have caused many Haitian professionals to leave their home country and go serve elsewhere. Most notably, the United States.

There are a vast array of different weather phenomenon that affect the world. Consider mother nature's latest contribution, global warming. Global warming is affecting each and every continent and all races. If something is not done about this threat it could lead to dire consequences for humankind as a whole, not just "negroes."

Mother nature has also manifested her "wisdom" rather graciously on African and Carribean countries, blessing their soils with the many resources that supply the American markets everyday. Many African nations are the world's leading suppliers of petroleum and diamonds, luxuries the world does not hesitate to exploit.

Haiti's people will never be reduced to "standing in sewage" because its children carry the legacy of being the world's first, free, black country! The same way we defeated the world's greatest army at the time (Napoleon's Army), it is within that same spirit that the Haitian people will be victorious over violence, poverty, HIV/AIDS, and imperialism.

written by-A Haitian Queen

La Fontain Super Boulangerie 2009
This is a photo-documentary of an Haitian bakery: La Fontain Super Boulangerie in Port au Prince. This is good example of the proud work force which exist in Haiti, but is very seldom told. Mr. J. Guyto is the proprietor. Mr. Guyto was my breakfast companion and tour guide in Petionville, Haiti. He asked me to photograph his bread factory. It was very hot in the factory and my lens fogged up on several occasions.
Hugeaux Photography: Haiti Paradise 2009 : http://www.youtube.com/watch?v=R6C2VgTYWCA
Hugeaux Photography: Haiti - Road to Petionville 2009: http://www.youtube.com/watch?v=T9y6_uIEZfE&feature=related
Hugeaux Photography: Haiti - Road to Jacmel 2009: http://www.youtube.com/watch?v=JJ57wPTA_js
Hugeaux Photography: Haiti - A Proud People 2009: http://www.youtube.com/watch?v=GM7Ym7Rccp4
Hugeaux Photography: Haiti: The art of Kabel: muralist and street artist. Port au Prince 2009: http://www.youtube.com/watch?v=Jx30f5mzHc8
Hugeaux Photography: Haiti: La Fontain Super Boulangerie 2009: http://www.youtube.com/watch?v=r0ZyKsM__hg

Hugeaux Photography: Haiti: The art of Advertisement. Port au Prince Haiti 2009: http://www.youtube.com/watch?v=5MYXCodvdNk
Hugeaux Photography: Haiti: The Architecture & Decor of Port au Prince 2009: http://www.youtube.com/watch?v=Codl5uqbU14
Read more of the Haitian Diaries
An African American Indian contribution to the Fine Arts through the Humanities

By Kurt Shaw
The Pittsburgh Tribune Review
Ask portrait photographers about their job and they will tell you it takes a special breed of photographer, an especially patient one, to really capture the essence of a person -- who they really are, in the moment. For Laura Heyman, those moments have became all too prescient when she realized earlier this year that many of her subjects, who she photographed in 2009 during a visit to Haiti, were lost or suffered through the Haitian earthquake on Jan. 12. " 'Pa bouje anko' (don't move again) is what I would say to each person as I was explaining the process that we would go through in order to take the photograph," Heyman says. "And I would tell each subject to choose a pose, and they had to understand that after they made the pose, I would focus the camera, and they couldn't move again. But of course, after the earthquake, (those words) became resonant on a number of different levels -- in that the earth wouldn't move again, in that the country would not be crushed again by the various political or natural disasters that have plagued it since it first came into being." Heyman is the grand-prize winner of Silver Eye Center for Photography's Fellowship 2010, an annual juried exhibit, which carries an award of $3,500. Her work, which is on display in Silver Eye's "Fellowship 2010" exhibit, was selected by juror Deborah Klochko, executive director of the Museum of Photographic Arts, San Diego, from submissions by 258 artists representing 32 states and 12 foreign countries.
Heyman, who lives in Syracuse, N.Y., is an artist, curator and associate professor of photography in Syracuse University's College of Visual and Performing Arts. Her initial visit to Haiti was at the invitation of the artist-organizers of the Ghetto Biennale, a festival that took place in Port-au-Prince in November and December of 2009. The festival's premise was to explore "what happens when artists from radically different backgrounds come together ... when 'first world' art objectives encounter 'third world' artistic reality, and when Western artists try to make art in the poorest country in the Western Hemisphere." Heyman's response to this question and to the complexities of cultural representation was to set up a simple, outdoor studio in a courtyard off a main boulevard in the Grand Rue neighborhood. She put out the word that residents could have their portraits made for free, and every day, she met with and photographed individuals and groups using a vintage 8-by-10 field camera. The negatives were then processed and contact printed in a makeshift darkroom set up in her hotel room, so that each sitter would receive a portrait before the artist left the city. Much like celebrated West African photographer Seydou Keita (1921-2001), whose portraits of his fellow villagers in Bamako, Mali, have taken on an iconic status well beyond their humble beginnings as simple studio photography, Heyman portrays her subjects with consideration and respect, capturing their inherent beauty while documenting their life at a specific moment.
These highly detailed works are of exceptional quality thanks in part to the camera Heyman uses, which is 100 years old. "The results of shooting with this camera are so amazing because the negatives are so large," Heyman says. "I wanted to make something really special for the people I was working with." That's obvious in works like "Stephanie Yvens, Grand Rue, May 2010," which features a relatively gangly, but undeniably beautiful young girl standing in a simple yet direct pose. And just as beautiful are the boys in the group portrait "Members of Timoun-Rezistans (Kids' Resistance art group)," which was taken in December 2009, just a month before the earthquake. Like the aforementioned photograph of the young girl attests, Heyman returned to Haiti in March and May of 2010, and her project evolved to include views of the tent cities as well as U.S. military and other groups involved in humanitarian and reconstruction efforts. She plans to resume work on this project and travel back to Haiti in the coming months with support provided, in part, by the Silver Eye award. Also on display in "Fellowship 2010" is the work of Laura Bell of Girard, Pa., whose "The Alba Series" garnered her the newly created $1,500 Keystone Award for a Pennsylvania artist. Bell's "The Alba Series" takes its name from the Scottish Gaelic word for Scotland, the locus of and inspiration for the work. Bell accompanied her husband to Edinburgh in 2008 while he worked toward a masters of fine arts degree, and returned to the United States in 2010. This was the first time Bell had ever left the country, and the process of adjustment to a new culture was both profoundly exhilarating and unsettling. The Alba Series references the landscapes, history, culture and people of Scotland, but at the heart of the work is Bell's own interpretation of it. For example, "Floral and Insects, 2009" is much like a masterpiece of a still life one would find in a Scottish museum. And her portrait photograph "Lindsey, 2010" captures a local girl in soft white light, befitting of a portrait of a nobleman of yesteryear. In the words of juror Deborah Klochko: "Laura Bell's work is both lyrical and beautiful, and through her visual narrative, we are invited to create our own version of a larger story, her own inner journey." True enough, Bell's work will take you to another place, whether you are familiar with Scotland or not.

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