Photographers Blog

Retracing my steps in Pakistan

On August 7, 2010, with a camera in hand, I dropped into a flooded village on an army helicopter that was delivering food aid to marooned villagers. As a crewman slid the door open to find solid ground, I leaped out, took some photographs, and managed to get back on before the chopper departed.

Time stamps on the images show the hover-stop lasted less than the length of an average song. For those three minutes, my thoughts were focused on finding an image that would bring the Pakistan floods story to life.

After getting back to base, I worded the caption, “Marooned flood victims looking to escape grab the side bars of a hovering Army helicopter which arrived to distribute food supplies in the Muzaffargarh district of Pakistan’s Punjab province August 7, 2010.”

I never got a chance to speak to the villagers in my image. Trapped in the belly of the chopper, I did not even know where we had descended. All I could confirm was that I had leaped onto a graveyard, where the winds from the propellers threw me from one dirt mound to another.

On July 30, 2011, nearly one year later, I found the village and my subjects.

Adrees Latif wins ICP Infinity Award for Photojournalism

Pakistan chief photographer Adrees Latif has won the prestigious ICP Infinity Award in Photojournalism for his outstanding coverage of last year’s Pakistan floods. Working under the most difficult of conditions he led the Reuters pictures team to tell the story from every possible angle. His images were published daily across international front pages, bringing attention to the enormity of the catastrophe from its early stages. Latif’s work has received numerous industry accolades including the Pulitzer prize for Breaking News Photography in 2008.

Adrees recounts how he took the award-winning image of marooned flood victims grasping on to an army helicopter as they tried to escape.

The making of a Pulitzer

The story behind the Pulitzer picture

Reuters Bangkok senior photographer Adrees Latif tells how he took the pictures which won him a Pulitzer Prize. The pictures were taken in Myanmar during the protests in September last year and include the photo of Japanese video journalist Kenji Nagai being shot.

“Tipped off by protests against soaring fuel prices, I landed in Yangon on 23 September, 2007, with some old clothes, a Canon 5D camera, two fixed lenses and a laptop.

For the next four days, I went to Shwedagon Pagoda, two-three kilometres from the centre of town and waited for the monks who had been gathering there daily at noon.

Since I was at the same pagoda every day, dozens of people, including monks, asked me who I was and what I was doing. As the ruling military regime is notoriously secretive, my replies were guarded.

Barefoot in maroon robes, and ringed by civilians, the monks chanted and prayed before starting their two-kilometre march to the Sule Pagoda in downtown Yangon. Each day their numbers grew, from hundreds to thousands.

By 27 September, the city had become packed with troops. Soldiers and government agents stood at street corners.