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Afganistan seen through a woman's burka, by Aina-trained photojournalist Farzana Wahidy.

As a photojournalist I have observed an important thing, that most coverage of world events — especially in places like Afghanistan –- is done by white men between 30 and 40 year old. All those male journalists do interviews with Afghan men but have no access to the lives of the other 50% of the Afghan population. What about Afghan women’s stories? Who can tell them? Even if you have one or two women journalists there, the minute they have their own male interpreter and bodyguards, they cannot go inside the houses. They may be able to go inside some open-minded families’ houses, but they are are only talking to a tiny percentage of Afghan women. So who is the best to cover Afghan women? The Afghan women themselves.

This was how we started the Aina video project for Afghan women, asking them to make documentaries. The first ever documentary like this was called Afghanistan Unveiled. We trained seven Afghan women to hold a  camera for the first time, and nine months later their film was shown on PBS, the National Geographic channel, more than 20 international channels, at festivals…everywhere. In 2005 it was nominated for an Emmy award as one of four best foreign documentaries. It was because the story was totally different from what we’d heard before. The women knew where to go and who to talk to and how to express themselves. We also had one of Aina’s former student, Farzana Wahidy, who got the National Geographic All Roads honor. She was the first Afghan female photojournalist to receive this award.

In these ways we continued to develop the idea that Aina was founded on. Then one day the UN came to us saying, Reza, what would be the best tool to send out messages to the maximum number of people in the villages and cities? Obviously, as a visual person, I came up with this idea, which was used before in many countries a long time ago, of the mobile cinema project. We have mobile units going from village to village, school to school, with big screens and nice projectors. And Aina students make films that are informative and educational. It connected the population immediately and the whole cycle became local.

We also created a children’s magazine designed to provide both children and their families with important  information. It’s not an entertainment magazine; it’s about understanding each other and the whole world, which is especially important in this part of the world. so little-by-little this children’s magazine and women’s radio have become our main projects.

I think that the 21st century needs a new humanitarian organization, and for me this is Aina. I call it a “third-generation” humanitarian organization. It’s not giving people bread; it’s helping them to make their own bread. The big difference between all the existing NGOs and what we are doing is that we want to train local people, help them to become independent completely, to take their countries in their own hands — and then we leave.

So today, after almost nine years in existence, here are some very brief figures: Aina has trained 1,000 Afghans, three to four hundred of whom are women. The first Afghan independent media, called Kabul Weekly, is still going on, and it’s highly respected. We launched an Afghan women’s radio station; we launched a kids’ magazine; we have this production unit making films. And we created the first Afghan photo agency, AINA Photo Agency. It’s an independent photo agency, whose shareholders are the photographers that we trained. They are the owners of their own agency. Kabul Weekly is 100-percent independent media that seldom needs outside help.

By creating a national messaging system, we’ve created all the tools now to replace these psychologists we would need to help people in war-torn countries heal. But the biggest result will be long term. When you start educating women and girls, you are educating the next generation of mothers to educate their children. And we not only trained 1,000 people who then found fantastic jobs, we also created jobs.That’s why Aina, as the first of this kind of organization in the world, has such a positive outcome. That’s why in 2009, with the help of the National Geographic Mission Program and for which they named me a fellow of the National Geographic society, I’m going to launch an international organization to bring the most important aspects of Aina to other countries.

• In the latest update on Iranian-American photojournalist Roxana Saberi, after being charged with espionage two weeks ago, she was subsequently convicted and sentenced to eight years in prison. Her parents, Reza and Akiko Saberi, who are staying in Tehran to press for her release and Roxana has announced a hunger strike in protest. In the meantime, students at Northwestern University, where Roxana received her graduate degree in journalism, are rallying in her support. According to ABC News, Roxana’s parents have hired new lawyers for her appeal, which could be decided within a week.

• Congratulations to Damon Winter of the New York Times and Patrick Farrell of the Miami Herald, the winners of this year’s Pulitzer Prizes for photography. Damon’s coverage of the Obama presidential campaign garnered the award in the Feature Photography category, and Patrick’s photo story of the aftermath of Hurricane Ike in Haiti earned him the award in the Breaking New category.

• Showing that they aren’t resting on their Pulitzer laurels, the New York Times posted a nice multimedia slide show featuring Tyler Hicks’ photographs of American soldiers in Afghanistan.

• Photojojo alerted us to World Pinhole Camera Day on Sunday (April 26) and also to the extravagant pinhole cameras for free download from Corbis. They come as a pdf that you cut out and assemble yourself — warning, these are the most complicated instructions we’ve seen in a while, but they look cool! All the designs are created by Fwis, a small design firm based in New York.

An image from Lou's time in Russia. ©Lou Lesko

During my career I have been accused of being cocky, self assured, and overly confident.  To which I respond; yes I am, I’m a photographer.

Rufo, 7. Her mother can afford education for only one of her seven children, so every morning Rufo accompanies her sister Loco to the school, says good-bye, and then returns home to her daily chores. ©Phil Borges, courtesy CARE

Miki Johnson: Tell me about how the Women Empowered book and exhibition was conceived. Was that a new thing for CARE to do a whole project around a photo project?

Valenda Campbell: It was definitely a learning experience for me. I had put together some exhibits before but this was my first time working on a book. Having published many books before, Phil came into it knowing what he wanted to produce. I let Phil know right up front that I’d never worked a book, but I was looking forward to learning a lot from him and that I’d do my best to keep up. CARE hadn’t done anything like this since I had been here. We had published A Gift from America back in 1996 about CARE’s 50th anniversary, but that mostly involved pulling materials from the archives.

At one point photographer Fred Housel was shooting quite a bit for CARE and some larger exhibit projects came from that partnership. So between that and the Connections photo exhibit, which I led in 2004, CARE had some limited experience with large exhibits. But since I had been with CARE we just hadn’t had the right opportunity or any specific clarity to justify a book and traveling exhibition.

When things started falling into place with Phil, we saw a lot of potential for the awareness it could raise around issues of women’s empowerment and CARE’s poverty-fighting work. But it was a bit of a hard sell because I had a pretty ambitious list of what we wanted to accomplish and what it was going to cost –- not to mention a lot of people would have to spend significant time helping us pull it together. Taking on a project like this is an organizational commitment that impacts everyone from the photo library, to finance, to the country office staff in the field.

It was also a hard sell because people don’t always appreciate the influence of social documentary photography. Everyone enjoys the creative products of projects like this, but they may not quite appreciate the impact, the number of supporters behind it, and the variety of networks that are created and plugged into it. I explained how Phil’s book and exhibition would reach a lot of people through new venues while also providing high-quality material for our regular venues.

Committing to this type of high-level project is a tough call because it’s not easy to illustrate how this channel, through a lot of dotted lines and connections, will get us to our target audiences. In the end, though, there was enough potential there to get started and see how it went. Then when the project started coming together, everyone thought it was great and were very excited.

MJ: What have been the lasting results from Phil’s Women Empowered project?

VC: The Women Empowered book and exhibition have allowed us to reach new audiences. There’s the audience of photography enthusiasts in general, the professional photography networks, photo collectors, and the arts community — it’s so widespread. Like the magazine you worked for [American Photo, which included Phil in its “Heroes of Photography” issue]. Everybody who is a photo enthusiast gets that magazine at one point or another. Also, coverage in Photo District News is a great avenue to reach out to the photojournalist and documentary side of photography, which helped us connect with resources and support. In these ways, Phil’s work has also made other photographers aware of what we’re doing and it helps us recruit a higher caliber of potential photographers to work with.

I may be biased, but I would say that Phil has been one of the most valuable communications relationships we’ve built in recent history. Everyone who has had his wonderful material available to them has been thrilled with the opportunities it inspires, the doors that it opens, and the conversations that it starts. Because Phil is a photographer who is pretty worldly and well-traveled, he has a lot of insight into examining indigenous cultures and telling those stories — he’s seen so much first hand. It’s also good to have a man’s perspective included in this women-focused communications platform that CARE has adopted. Ultimately it adds a lot of credibility to CARE that he’s so committed and passionate about helping tell the stories behind CARE’s work. It means a lot having somebody of his stature, experience, and talent make that kind of commitment to supporting our work and our mission.

One thing that’s interesting about this project is that we went into it with the specific understanding that this was not going to be a CARE project — his was going to be a Phil Borges project. It was going to have his look and it was going to be a message that he was bringing by telling these stories through the eyes of CARE’s work. We didn’t want it to be an overtly CARE piece and have people think we were trying to sell or solicit something. For instance, on Amazon.com I don’t think people are searching for books under CARE, they’re searching for Phil Borges. When the book stores are adding titles to their inventory or when we exhibited Women Empowered at the U.N., it has Phil’s name, his look, his brand, his stamp on it. Yet he’s telling CARE’s stories by sharing what he saw when he visited our projects. This way it’s a message about women’s empowerment, not a message about CARE. So even if somebody decides to throw their support behind behind another organization that empowers women in developing countries, whether it’s through CARE or not, it’s a win — because we were able to get someone engaged in those issues.