Good evening! This is @jeanine.flaton.buckley Jeanine Flaton-Buckley, social documentary/non-fiction/street photographer and I am honored to have been given the keys to #wpanyc for the #wpatakeover , October 15-21. This week I will be presenting images from an ongoing project at the US/Mexico border. The spotlight will be on the “Guardian Angel” to Nogales, Francisco Olachea-Martin, as well as some of the people he serves everyday. “Panchito’s” selfless, tireless dedication to offering aid to migrants, recent deportees and those in extreme poverty is unrivaled. •
Panchito was born in Ensenada, B.C., MX and arrived in the U.S. at 16 years old, where he remained for more than 32 years until his deportation [back] to Mexico in 2008. He currently lives in Nogales, Sonora where he is a medic and nurse who relies solely on donations for his work at the nonprofit organization, “Panchito y su Cristina”. After being deported, he returned to school to earn the equivalent of a G.E.D. certificate so he could attend nursing and EMT classes. He worked briefly with the Mexican Red Cross in 2008-2009 before starting his own nonprofit. He says he chose this career because he had seen how much help was needed in the medical field for immigrants. He believes his unique perspective as a deportee can offer hope and comfort to those trying to make their way to a better life as well as being equipt to inform and prepare them for the obstacles of crossing at the port of entry into the U.S. •
2018 Jeanine Flaton-Buckley
Image 1: Panchito attempts to bring down the fever of this sick baby with luke warm water after administering baby Tylenol at the port of entry in Nogales.
Image 2: Panchito escorts a mother and her two sons into an undisclosed shelter for migrants in Nogales.
Image 3: Panchito at the entrance of a soup kitchen for migrants and deportees as they bow their heads in prayer in the background before the morning meal.
Image 4: Panchito guides asylum seekers exiting his ambulance as they arrive at an undisclosed shelter for migrants in Nogales.
Image 5: Panchito tends to the needs of a sick child as he answers questions from asylum seekers at the port of entry
649 Cómo asumir el peso del tiempo con dignidad, eso lo dicen muchos, es una aspiración generalizada, un deseo, pero ¿cómo hacerlo cuando el cuerpo juega en contra? Cuando el tiempo ha pasado y lo que eras antes ya no funciona.
Tengo tiempo pensando en eso, en cómo afrontar el futuro, cuando el mañana se acerca sembrando el miedo a cada paso.
Un país como Venezuela en el que envejecer se convierte en una pesadilla, esa realidad es la agonía de millones de abuelos. Falta de medicinas, de comida, de seguridad social y personal, falta de valores y de educación hacen del envejecer un padecer.
Los años dorados, eso solo se ve en las películas, la realidad es cruel para casi todos, sanos y enfermos, ricos y pobres, blancos y negros, nacionales y extranjeros. En este país la vejez perdió la dignidad. #tw
Day 368 on my #RoadToAGrammy Follow my journey as I document every single day up until I win my first #Grammy I'm in the process of making a Social Documentary called "Road To A Grammy." In the series, I record a daily 60 second video, documenting every single day until I win my first Grammy Award. Follow my journey as I experience the cloud 9 highs and heart wrenching lows of being an Artist in today's incredibly difficult music industry. I hope this documentary inspires you and gives you strength and encouragement to achieve your own goals. Nothing is impossible! I will win a Grammy and you can achieve your goals also! #JesseLyonsLive#GrammyAward#Inspiration#Goals#socialdocumentary
125/365: Last Day
(Taken October 13th, 2017)
This was an unplanned shot. Just over a year ago I was the best man in Robbie & Susie’s wedding. I stole this moment, because it held a lot of significance for all the hard work these two put into getting everything together leading up to their special day. I’m happy to report, they made it through the first year.
“Dressing”. I have been working on this series for the last 6 years focusing on the beauty of the Turkana. The people are ‘dressed’ with the history of their land and the images aim to depict the changes which overwhelmingly affect their lives. Every garment tells a story because, in a sense, these worn clothes are history itself.
They pose in front of mats made by the women out of dry palm leaves found at the banks of dry river beds . At first glance we admire the beautiful mixing and matching of traditional garments combined with modern dress; a button down shirt is paired with traditional robes, a brand-name t-shirt thrown over a wrap, woolen socks worn with sandals. But there is also a subtext about how the Western World is infiltrating the remote, arid north of Kenya that has managed to maintain many of their cultural traditions due to decades of isolation. The discovery of oil in 2012 has a profound and detrimental effect to the local community. Nudity that was once the traditional norm is now shamed, and women are sent bras to cover themselves. This is just the beginning. What else will be wiped out? #culture#turkana#tribe#tradition#desert#ethnography#photoobserve#lenseculture#streetphotographyhub#wanderlustfilms#reportagespotlight#spicollective#people_infinity_#challengerstreets#socialdocumentary
Local Anuak women from the village of Ilia were hired by Indian land investor Karuturi LTD to work in the companies oil palm nursery. When the investor first started building his camp next to the village of Ilia, they promised good paying jobs, education for the children, a well and a generator, and also to help the indigenous population to plow their land. When we visited in 2011 nearly none of the promises had been realized. As the people of the region are mostly used to millennial farming techniques and lack mechanical knowledge the modern farm equipment of the investor requires, the people of Ilia were given only the most basic and worst paying jobs. The women were complaining about the meager pay of 80 US cents per day, while the Indians complained about the laziness of the local workers. They claimed that for every worker from the Ethiopian highland or an Indian farmer you had to hire four or five Anuaks to do the work. With these vastly different expectations conflicts between the new neighbors soon emerged. Karuturi, like many of the investors in the region, didn't care for local traditions and customary usage of land but started clearcutting the land, destroying land that was traditionally used for grazing, hunting, the production of honey and gras. While a lot of their traditional livelihood was destroyed not even the well paying jobs that had been promised emerged.
„The Farm“ investigates how international land investments in Ethiopia change the social and environmental fabric of the Gambela region. It is part of our @landrushproject that documents global agriculture since 2007.
I always appreciate @cmaera ‘s ability to capture my personality through his still images. I was roaming around the Department of Transportation building yesterday scoping out the light in the area (most photogs shoot here at night with the bright lights). Anyone who’s shot alongside me knows I don’t wait up for anyone. The last thing I want is to miss a moment because I had to wait for the rest of the group to catch up. This is why I prefer working alone with no assistants, no big flashy gear, no lights, etc. Street photography is an incredibly fluid environment to work in and you have to constantly be observing everything and *everyone* around you. I don’t set up shots, get in people’s way, or otherwise let people know I’m a photographer (unless i’m taking someone’s portrait). I’m no one special and I prefer that assumption people might make of me. If I’m a nobody to the strangers around me, guess what, I’ve disappeared from their frame of mind. From there, i can “disappear” even further into my surroundings, weaving in and out of everyone’s peripheral vision while I shoot. I become part of the story. This is where I’m the happiest and most creative. Shooting and documenting weddings for 5 years, I’m continuously refining my approach of how to shoot and interact with complete strangers I’ve never seen or met before, unposed and CANDIDLY. The most true, human emotions come out when you let the scene play out as it will. My aim is to photograph people just being people. In a world where Instagram has become a popularity contest, full of fakeness and presets, my aim is to bring some truth back into my own work. To tell the true story and to document the #RealMoments that we all live. ⚡️⚡️⚡️📸
Wastepicker in her room in Mumbai (India). "I’m sorry for my crying, you are the first person who is interested in my life and my experiences. I feel so relieved now and I want to tell all the other women to share their stories because it makes you feel so much better." - Vrundavani