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Bathing in open, tin rimmed enclosures like these is the only way to wash in the poor community of Ogu in the Niger Delta, where oil operations yield billions of dollars of wealth nearby. ©Ed Kashi

June 4, 2009

Today we went to the Bayelsa Palm Oil Farm, which everyone has been talking about in the interviews. Sure enough, the new processing plant is not completed (they are waiting for the Malaysians to come and build it). I shot the exterior of the new factory, which is not impressive, and made arrangements to return tomorrow and shoot the workers cutting palms off the trees.

I was thinking today how I always work from the outside, not just as an observer but also in terms of access and logistics. I am the outsider that most people don’t want around or they don’t want me to see what I want to look at. Yet in this project I should be an insider and in many situations I am treated that way. But mostly I feel like I’m working from the outside, trying to get a glimpse through the window shades at the action.

I had a meeting about going to Akassa, a far off community by the Atlantic, to see civil society projects in action. After talking with my contacts about the security situation in the creeks, it became crystal clear I shouldn’t risk it.

Things were bad in 2006, when boats of gun-weilding young men would appear from nowhere, stop you, harass you, and take money. Now the situation has deteriorated to gang warfare for turf and control, but instead of mean streets they are creepy riverways and creeks. Plus, it’s so rare to see a white man in the creeks now, if I were to be seen by one of these boatloads of young men, I would be way too exposed and vulnerable. I can’t deal with this shit or take the risk, especially for this project. I said the only way I would go to Akassa or any of these riverside communities is by chopper or government boat.

June 5

We started the day at a local market to get B-roll of fish and periwinkles in buckets. It was a relaxed and lovely way to start the day, although I did get splattered by blood when I got too close to a saleswoman chopping a fish for her customer. We then went to the Bayelsa Palm Oil Farm, which is still a work in progress. The plantation itself is visually lovely, but the processor is not working yet, as I pointed out a couple of days ago, waiting for the Malaysians.

I was quite testy with Sokari and the subjects today. I realized that I am now in a mode where everything I’m seeing is through critical eyes and negative assumptions. Unfortunately it’s accurate, but not healthy or fair or positive…but then, who cares? I can be this way if I want and if it gives me the resolve to carry on. It was sunny this morning, which means dripping wet working from the heat and humidity.

June 6

Upon emerging to greet the afternoon, I met a calm, overcast day with nice winds that cooled the heat down. We went to cover a traditional wedding, which required a very short boat ride across the river from Yenagoa. It was another undeveloped and poor village, like all the rest of them here. The bride had to wait for the stylist to appear and make her up. Once she arrived things proceeded swiftly.

My back was burning with pain at this point and the sun came out, so it was also burning hot again. I was losing my ability to tune into the sequence of events and Sokari was keen for me to see the part where the groom has to choose between three covered women, not knowing which one is his bride. It was loud, colorful and hectic. I probably got some great stuff, but all I could think about was my discomfort, the hectic, screeching sounds and the chaos of the situation.

Workers subcontracted by Shell Oil Company to clean up an oil spill from an abandoned Shell Petroleum Development Company well in Oloibiri, Niger Delta. ©Ed Kashi

June 8

I woke on this last Monday in the Delta bleary eyed and tired from another restless night of sleep. Some brisk Nescafe and exercise brought me back to life with a positive attitude to finish this thing strong. We first went back to the Palm Oil farm to finally film the harvesters cutting the palms down, but once again the workers were arguing with the contractors about getting paid. No go on that front, but did get the pruners whacking at the palm trees.

We then drove out of Yenagoa (yay!) to look at a couple of projects. On the way we stopped to shoot road work on the New Airport Road, a huge swath of light colored orange sand covering a wide area of flattened jungle. I got out of the car and started to shoot the one bulldozer working in the distance — not knowing that a JTF post was on the other side of the road.

Immediately they started yelling, “Oyibo, who gave you permission to snap!” I snapped back without hesitation, “THE GOVERNOR!!!” Sometimes my frustration builds up so much I forget to consider my responses. The soldiers were taken aback and before they could say anything else I pulled out the well-worn letter that Von’s office gave us at the beginning of the trip. I’ve used about 15 times so far and it usually works. They took the letter and said, “We’ll keep this…it’s for us!” I said, “No you won’t, that’s my only copy!” Thinking ahead, I then said, “We are going to Kayama next, so we’ll get you a copy and drop it off on the way back to Yenagoa.” He said, “No, you will take this engineer with you!” I said “Fine!”

So off we went to Kayama, about 15 miles ahead on this main road that connects Port Harcout to Warri. Along the way, the engineer suggested we go to another place where they are dredging sand for the road and we finally got some dredging footage. We then went to Kayama to show a huge land reclamation and erosion protection project. We got the copy and dropped it and the engineer off on the way back to Yenagoa.

I asked Sokari if I had come on too strong to the soldier and he laughed and said, “No!” He told me that after I said, “THE GOVERNOR!” another soldier said to the big soldier who confronted me, “Wow, he’s confident.“ So my bravado worked in this case. Not that I was aware of what I was doing. I’m in a trance-like state at this point, trying to accomplish the work, keep positive, and get back to my room to chill out, waiting to get out of here.

From the new ad campaign ‘Meet Dubai’ for Emirates Airlines. Photo copyright 2009 Doug Menuez

Ross Perot once told me that when he was starting his new company, no one would invest in his idea except his wife and mother. “And that’s why I have 3.3 billion dollars!” he said, with his characteristic ear-to-ear grin. “It’s all about equity son, equity.” His risky hard work paid off, but Ross was also lucky that he had some money from his wife and mother to start out with. That’s not realistic for most people starting a new photography business. You’ll need to use other people’s money to do that, the kind you find in a bank.

In my last column I mentioned writing a business plan and getting an SBA (Small Business Association) Loan. The good news is, the Obama administration recently beefed up the SBA, and there is a new push to give out a bunch of $35,000 loans. What are you waiting for? Write the plan! You might qualify for more.

Tell Them Who You Are
One small problem you might run into is that most bankers know little about photography and are skeptical that there is much money to be made with a camera. They understand restaurants or furniture stores, but they usually don’t get many photography businesses applying for loans. (That’s probably because, unlike furniture store owners, photographers expect money to arrive via magic, without the normal agony of sweating up a five-year income projection.)

In order to overcome the banker’s doubt, your business plan has to be solid, satisfying their need to understand what you are selling, who you are selling to, and how much money you expect to make over a set period of time. They need to be able to asses the risk for the return of their loan. It will help to clarify your vision for your future to the point that you can explain it in a mission statement that is 25 words or less. Tips for writing business plans are all over the internet, especially at SBA.gov.

Show Them What You Do
When I first heard about the SBA in 1993, I was technically bankrupt, having spent my life savings on my first book project. I won’t deny that learning to create spreadsheets and to write marketing and sales stuff was a nightmare. Like being stabbed in the eye over and over.

On top of that, I felt completely out of my element as a photographer going in to meet the banker. Although I’d been trying to build a relationship him over the past few months, I was sure when I asked for this big SBA loan, he would laugh me out of the bank. But I was pretty desperate, with a mortgage, a wife and child, and a ton of debt. I had to try.

On my way out the door for my bank meeting, I did something people might laugh at: I grabbed my portfolio to show my banker. I knew my business plan might not get through, but I was pretty sure I could get his attention with my images of news events, sports, and celebrities. Turns out, I was right. A banker’s world is fairly predictable; lots of numbers. It was a welcome break to go through my work, and it gave me the chance to connect on a basic human level with this critical decision maker. I got the loan — $100K — and never looked back.

Get Them On Your Team
An important part of this story is the concept of “relationship banking.” I had gotten to know my banker over time. It’s important to identify a bank in your town that is actually supporting small business through it’s lending policies — even in this economy — and then make friends with the bank manager.

Build a relationship as you would with a picture editor you want to work with. Take out a small loan, even $5,000 and repay it regularly over three months. Take out another loan for $10,000 and repay that quickly. Build trust. Then bring in your plan, along with your portfolio, and make it happen.

After I got the SBA loan for $100K, and knowing I could get my business going with half of that money, I turned around and asked my banker to put half of it in a savings account and freeze it to collateralize a 50K line of credit. That told him how serious I was and how hard I intended to work. It also gave him another incentive to help me grow into a larger customer. And I asked him to agree that if I handled that credit line properly, that line would be unsecured in a year. He agreed and a year later I had both the SBA money and the credit line, giving me ample capital for further growth: new equipment, portfolios, and serious marketing campaigns.

I learned then that it pays off to engage everyone on my team as a partner in my success — insurance agents, lawyers, and all my labs and equipment vendors. By getting them invested in my endeavors, since they were also relying on me for their business, they all had a vested interest in my continuing success.

This seems obvious in retrospect, but so few photographers take the time to really build relationships with the people they most rely on. A few lunches, gift prints, and keeping people abreast of your new projects and successes can go a long way when times get tough. And if you can get an insurance agent excited about the photographs in your portfolio, imagine how easy that next meeting with an art director will be.

Infamous downtown artist Dash Snow, only 27 years old, died July 13 of a drug overdose at a hotel in New York City. His controversial art and photography drew comparisons to Nan Goldin and Andy Warhol and was mentioned in Jorge Colberg’s post on Conscientious asking “What makes art?”

Renowned outdoor photographers Art Wolfe, David Doubilet, and Thomas Mangelsen have embraced a new “virtual stock agency” model developed by PhotoShelter. They have teamed up to create an agency called Wild. Art, a RESOLVE contributor, explains the decision in a great piece in Outdoor Photographer Magazine.

The Prix Pictet announced its shortlist of 12 international photographers during a special screening at the 40th Rencontres d’Arles last week. We are excited to see RESOLVE contributor Ed Kashi on the list. Other familiar names include Magnum photographer Christopher Anderson and Portugese-born photographer Edgar Martins, who found himself in the middle of a recent photoshop controversy.

After the French government allowed priceless Henri Cartier-Bresson images to be damaged and then promised to destroy them, the images have reemerged in the art market, in an incident that The Online Photographer has cheekily dubbed “oeuf on face.”

Mannie Garcia, the photographer who made the the image of Barack Obama that Shepard Fairey based his HOPE poster on, filed a court motion to join the lawsuit between Fairey and the Associated Press.

The congested and broken down streets of the oil city of Warri, in the Niger Delta, where hawkers sell fuel illegally.

May 15, 2009

Yenagoa….this is the capital city of the federal state of Bayelsa, which is only 12 years old. They have put me up in the bosom of the state, the Government House, a large compound for hosting guests and dignitaries. I have not been put in the VIP building. The furniture is broken, many of the lights don’t work, the TV is useless, there is no internet, the bed is a piece of foam on a piece of plywood, and it’s not clean. On the bright side, there is electricity, a functioning air conditioner and some lights. I have to focus on what I do have, not what I don’t, otherwise I’d go downhill fast.

This is so typical of Nigeria. I am in a grand compound, with a sense of decrepit grandeur on the surface. Yet inside so much is broken, unfinished or just done poorly. The irony is, being hosted by the government I have less than I would in one of the privately owned guest hotels in the town.

May 21

I went out in the afternoon with an engineer from the Dept. of Works to shoot road building. We went to a location where there was a giant Shell gas pipeline project about 30 yards away. I started to shoot innocuous activity: workers hanging out along the pipes, big machinery working in the muck of the swamps. All of a sudden, five Nigerian Shell workers in bright orange jump suits and hardhats start yelling and motioning me to come. I realized immediately I was in for it. Even though I had an official from the State Government and was not a journalist, they freaked and did the threatening, aggressive, and aggrieved trip on me. I didn’t get permission, etc, etc. Then they said I could not leave without erasing the tape.

Anytime this happens I get pissed and push back, which I did. I could see it was getting uglier and the fact I had a state official with me didn’t matter squat to them, so I called Von Kemedi, my main contact in the Delta since 1994. He threatened to send the MOPOLS, mobile police, to arrest them, and they let us go with further admonishment. What was upsetting and revealing was, when I said I was working for the State of Bayelsa, they said, “This isn’t the state of Bayelsa!” Shell owns the game down here and doesn’t have to answer to anyone.

May 25

Hitting a wall today of fatigue and burnout. So many appointments are changed or canceled last minute, Von continues to delay certain actions, Patterson Ogon (one of his deputies) is MIA, and I have to push everyone to get anything done. At least my core team is in place and seemingly responsible and loyal. If my assistant/videographer Sokari or my driver stop being responsible, I’ll truly lose it.

We started the day at a market by the river, next to a big new bridge. Then we went with a water commission official to a small village to show how potable water is brought to their community. It was raining the whole time, so I don’t know how the footage will look. Then we went back to the water commission HQ and did an interview with another Minister, of Agriculture. Then I hit the wall. I’ve been doing so good for the past days, but today something snapped. I have to get the rhythm back. I have no choice.

May 28

After our interview, we went to the Health Ministry to get details about an upcoming polio vaccine exercise, which is starting in a couple of days. We went to three offices, spoke to four different people, then went to a place where the vaccines are stored a few blocks away and spoke to someone there. He gave us a cell number and when Sokari called he basically was told we needed to come in and speak to this man. I hit a wall of frustration and lashed out at Sokari. I felt terrible afterwards and apologized a few times in the course of the day. I just get so frustrated with the hapless and clueless way so many people here work and think.

May 31

It was a whirlwind day with the Governor. First we started at the Govenment House Church, which is literally 100 yards from where I’m staying in the Government House compound. It’s incredible to think that this is exactly where that military helicopter dropped Elias (my fixer) and I off in June of 2006, handcuffed, after we were taken from the flow station out in Nembe creek. How life plays it’s tricks.

We finally got to Amassoma, which is almost an hour away on a mostly very rough road. We filmed the war canoe contest and got some good stuff, probably, although I was fried from all the pressures of the day and this trip. I realize I cannot control everything and, here, almost nothing, but sometimes it just becomes too much.