Lu nan photographer biography templates

Eighty-five percent of Tibetans are rural workers, and live lives that are fundamentally little removed from that of their ancestors. They plow their fields with oxen and horses, reap with sickles, and winnow wheat with the wind. Lu Nan witnessed a poetry in this machineless life. “What we hear is the ‘yo-heave-ho’ of driving draught animals, the songs of the women in the harvest, loudly thanking God for bestowing a bountiful harvest and the sound of threshing,” he says.  

As a nationality, Tibetans value relationships deeply, especially among family members, says Lu Nan. “When you visit one family, if only the children are in the home, you can&#;t ask them where their parents are. Because of the harsh environment, poverty and lack of medical care, one of their parents may well have died. The children may begin to weep [if] asked such a question,” he explains. “Therefore, when one visits a family, one should instead ask how many people there are in the family and who they are and then you know whether the children&#;s parents are still alive.” Friendship outside of the family unit is also fundamental to their survival. “For example, when one family builds a house, every family in the village will send one person to help,” he adds.

The vastness of the collection on Magnum&#;s website is overwhelming &#; similar to the content itself, the sheer volume is impressive, diverse, and spans a wide range of times and places. The site is so clean, neat, and simple, and I think this design is the best way to view this type of photography; there are no distractions, no colors on the borders of the pages, and very few words. The photographs are allowed the space and freedom to speak for themselves, and they most certainly do.

I approached the collection by looking at the &#;Whereabout Map&#; section of the site and delving into different parts of the world. Most of the major countries are represented with dozens of photographers who have shot there &#; hundreds upon thousands of documented moments from all of the significant events of the past century and a half. I started in Europe, poked around in the Middle East, and then transitioned over to Cambodia, looking at poverty, war, religion, art, community, tragedy, and strength along the way. I then chose my two photographers at random from the list (by completely just judging their names and making associations in my head). I picked Bruce Davidson because his name seemed familiar, American, and that maybe I could relate to his photos. I chose Lu Nan because I

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