KUALA LUMPUR: Malaysian Press Photographers Association (MPPA) seeks to raise its members’ professionalism as part of the Transformasi Nasional 2050 (TN50) vision of propelling Malaysia into the world’s top 20 nations in the next three decades.
“MPPA is making a list of short- and long-term initiatives that we will soon hand over to (Youth and Sports Minister) Khairy Jamaluddin,” said MPPA president Mohammad Naim Firdaus Abdul Aziz.
“We hope the government will consider news photographers’ suggestions on ways to contribute more effectively to the development of our country in this digital era,” he told the New Straits Times in an interview here today.
Khairy, who is in charge of TN50, had reportedly welcomed the media industry to engage directly with the government under TN50, which aimed to set a pathway for progress for Malaysia in the next 30 years.
“Currently, there are some 800 news photographers throughout Malaysia and about one quarter are MPPA members,” Naim said.
He said MPPA was set up in 2010 to look after the welfare and raise the standards of photojournalism.
Over the weekend, Deputy Transport Minister Datuk Seri Abdul Aziz Kaprawi officiated at the launch of MPPA’s inaugural news photography exhibition and symposium at the Art Gallery of Malaysia Tourism Centre here.
A total of 35 news photographers working for various newspapers and portals are exhibiting their winning shots at the gallery. Entrance is free. The exhibition ends on Sunday.
The photographers are Rafi Rahman, Zaharah Md Jaferi, Ahmad Yusni, Mohd Naim Aziz, Syefry Moniz Mohd Nizar, Effendy Rashid, Djohan Shahrin Shah Sabli, Zulfadhli Zulkifli, Fandy Azlan, Muhairul Azman Supian, Mohd Zaki Amiruddin, Shamshahrin Shamsudin, Roskhadijah Razali, Osman Adnan, Mhd Shahril Mat Ali, Yazit Razali, Supian Ahmad, Mohd Hazrol Zainal, Adi Safri, Mohd Hizami Roslan, Mohd Noor Mat Amin, Khairull Azry Bidin, Azneal Ishak, Redzuan Md Salleh, Sadiq Asyraf, Zulazhar Sheblee, Aizzul A. Majid, Aizuddin Saad, Azmi Abdul Aziz, Muzzafar Kasin, Azman Jumat, Abdul Razak Lafif, Sairien Nafis, Nor Asrekuzairey Mat Salim and Fatah Sulaiman.
On the works on exhibit, Naim said the pictures were special as they the photojournalists who took them took a non-intrusive approach.
He said this was very much in contrast with commercial studio photographers, who very often instruct their subjects on how to pose and smile.
He said in recent years, couples getting married were more willing to pay more money to hire stringer photojournalists to document their wedding and tell their love story.
He said when the photojournalism approach was applied to wedding photography, it eliminated the risk of shy individuals looking “stiff and fake” when they were faced with glare from camera flashes and intrusive instructions to strike a “perfect” pose.
“They can be themselves in the happy company of their family members and close friends. As photojournalists, our job is to find the story angle as it unfolds.”
Naim also spoke about his experience a few years ago photographing the situation at cramped detention camps, with scenes of illegal foreign workers sleeping on the floor before they were deported.
For that assignment, he said, he had to go undercover to blend in and become a “shadow figure”.
“If we need to be in disguise, we do it, because we are there to observe and capture, so we do not interfere. We do not want people to react when they see a camera.”
In a separate interview with veteran photojournalist Bazuki Muhammad, he said winning shots were not about the technical details or the subject.
Bazuki, who has more than 25 years of experience and currently works for New Straits Times Press Bhd, said photojournalism was about showing the world an event as it unfolded.
He said the emotion captured through photography was often raw, whether it was intriguing, funny, shocking, disgusting, compassionate or joyful.
He said these kinds of photos allowed the world to see through the eyes of the “sharpshooter” for just a moment.
“We aim to capture that single moment in time, and we want to be the fastest to draw viewers into the image. We tell a story through our visuals, and very often, we want do it in just a single shot.”
He recalled how he collaborated with colleague Aizuddin Saad when they became one of the earliest photographers to capture the arrival of former United States president Barack Obama’s arrival at Kuala Lumpur International Airport two years ago.
“As soon as Obama, emerged from the door of Air Force One and waved, Aizuddin took a shot. Within a split second, the picture was transmitted to my desktop at the headquarters.
“I matched it with the pre-written caption and uploaded it online before Obama even got into his motorcade. It was within a 10-second window. That was how fast Aizuddin and I worked to meet news viewers’ expectations.”
When asked to comment, Aizuddin, in a separate interview, said teamwork among news photographers was vital as events that unfolded before our eyes would not repeat.
He said it was important for newsmen to uphold integrity at all times so that their work was of high credibility.
“We’re ethically bound not to change the story. We cannot super-impose someone into a scene when he is not there. We cannot add more smoke into a fire scene.
“What is captured is what happened. When we edit, we at most lighten shadows so that we can see faces more clearly or sharpen an image for clarity.
“Photojournalism demonstrates a sharpshooter’s integrity because what is in the image is what happened. There is no manipulation.”
Asked on his career aspiration, he said as news photographers upgraded themselves by value adding on their raw pictures through exhibitions and visual publications, due recognition and respect would eventually be accorded to newsmen who sacrifice their time and effort to serve the nation.