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Douglas Kirkland on Photography: A Conversation with Gerd Ludwig

Douglas Kirkland on Photography: A Conversation with Gerd Ludwig

with Douglas Kirkland

 


In this installment of Douglas Kirkland On Photography, Douglas Kirkland talks with his friend and colleague, Gerd Ludwig. A photojournalist best known for his work in National Geographic magazine, Gerd Ludwig has taken a special interest in Russia and the former Soviet Union—in particular, the people and stories surrounding the Chernobyl nuclear power plant.

As the installment begins, Gerd is packing for this third major trip to Chernobyl. Gerd shares his techniques for choosing and packing gear for a photojournalism expedition.

Next, Douglas and Gerd sit down for a wide-ranging conversation. They discuss the changing business landscape of photography and Gerd’s approach to photojournalism. Gerd also describes how and why he works in Chernobyl and details how he financed his latest trip through the crowdfunding site Kickstarter.com.

After Gerd returns from Chernobyl, he and Douglas meet again to review some of the photographs and video that Gerd shot during his latest trip. They talk about Chernobyl today, about how video is impacting photojournalism, and about the future of Gerd’s "Long Shadow of Chernobyl" project.

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author
Douglas Kirkland
subject
Photography, Documentaries
level
Appropriate for all
duration
54m 8s
released
Jun 24, 2011

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Introduction
Course highlights
00:05Douglas > Today, we have a very special segment, talking about my friend Gerd Ludwig,
00:10the National Geographic photographer.
00:12Gerd, how are you? Good to see you again!
00:15Gerd > It's been a while.
00:16Gerd > This is the previous story in Chernobyl. Douglas > Yeah!
00:19Douglas > Okay this is where you are going tomorrow, literally.
00:22Gerd > This is my carryon. One camera, the most important lenses and then I am
00:28taking the 75 to 300 zoom.
00:32Douglas > Somebody like you Gerd has to, I repeat myself, always deliver.
00:37You go through a lot.
00:38Gerd > Whenever I go into the job, "oh, piece of cake," chances are that you don't
00:46give your best.
00:47That fear really produces the energy.
00:52For the first time I wanted to try and to show in a video what it feels like to be in there.
01:00I did take this little camera, the GoPro camera.
01:05Douglas > How did you use this?
01:07Gerd > You can set it ahead of time and I would put it on my helmet.
01:12It's strapped on to my helmet and I had it as, instead of a headlamp basically,
01:20I had this video camera.
01:22Douglas > Your first job is to get great stills of course because you want stills.
01:26This is a supplement and this is something you probably would never have realized 5 years ago.
01:31Gerd > Exactly!
01:32Douglas > This is the new Gerd Ludwig, and there is you at photojournalism.
01:35Gerd > It's the new work of a photojournalist or a documentary photographer.
Collapse this transcript
Welcome
00:00Hi! I am Douglas Kirkland. Welcome to On Photography.
00:04Today we have a very special segment talking about my friend Gerd Ludwig,
00:10the National Geographic photographer.
00:12Gerd is specialized in Russia and the former Soviet Union.
00:16This was one of his covers of the Geographic, which eventually became the cover
00:19of his book Broken Empire.
00:21Gerd has come close to the subjects and gotten to know Russia and the Russians.
00:27For example, stories on the Russian Orthodox Church, he has done so much,
00:32but what he really cares about most than anything else is the nuclear
00:36disaster at Chernobyl.
00:39He feels this is devastating and dangerous for all of humanity.
00:44He went into the nuclear reactor shortly after the meltdown and then went in
00:48with workers when they did the cleanup.
00:50These people had 8 hours shifts, but we are only allowed in there for 15 minutes a day.
00:55What he really cares about is the devastation to the individuals, the health,
01:00the children, they need a voice.
01:02And what he also cares very much about is the devastation to the environment
01:07and the effect of that and as a photojournalist, he wants to help and make a difference.
01:13But now he had a special problem because he wanted to do more and he couldn't
01:17get the financing that he wanted.
01:19They didn't want to have the continuity, but he feels as a concerned individual,
01:24he must make this statement about Chernobyl.
01:27So he has gotten-- he has found a way of getting financing for his new project
01:31called "The Long Shadow of Chernobyl" and I would like you to sit down with me
01:37today and listen to what Gerd talks about and describes how he managed to get
01:43the financing and how he is preparing himself literally hours before leaving and
01:49you will see how this individual, Gerd Ludwig, managed to do what all
01:55photojournalist would like to do, but very few of us ever can, to really tell a
02:00story that would change humanity. Very special.
Collapse this transcript
Meeting Gerd Ludwig
Packing for Chernobyl
00:00Douglas > So here we're in the Hollywood Hills of my friend Gerd Ludwig's home
00:04and he has lived here for a couple of years.
00:06We have known each other for about 30 years, so come on in.
00:08Gerd will be happy to see us.
00:11Mr. Ludwig!
00:13Gerd > Hey Douglas! How are you?
00:15Douglas > Very well.
00:16Gerd > It's good to see you, man. It's been a while, huh, since you were here last time? [00:00.20.02] You remember the old days?
00:21Douglas > Yeah, we don't use these things anymore, dude.
00:23Gerd > Can you see how they fade?
00:25Douglas > Ah, I see.
00:27They never faded well. We never admitted to it, did we?
00:31Douglas > This is one of my favorites.
00:32Gerd > ?at the end of the day. And as you know it's very typical for my style of photography, that
00:41participatory photography, I'm taking a shot on myself because I was down in
00:46the pits myself, in the mines I should say, and I looked like him, but I still kept my camera.
00:53Douglas > Nobody dares more than you do, Gerd. What's this?
00:56Gerd > These are all the geographics and look, this is the previous story in Chernobyl -
01:01Douglas > In Chernobyl? Gerd > Yeah.
01:03Douglas > Okay, so this is where you're going tomorrow literally.
01:06Gerd > The cover of National Geographic and actually I do have here an older
01:11story from the very first time I went into the reactor and that was 1993.
01:18Actually not in the reactor. I went into the Chernobyl zone.
01:23Douglas > How many times you have been in Chernobyl and the previous Soviet Union?
01:28Gerd > Oh my God!
01:29I don't really know how many times. Probably 20 times.
01:36Douglas > Okay Gerd, tomorrow is the day, the day you leave to go back to former
01:41Soviet Union. It's Ukraine, but it's more specifically the name Chernobyl
01:45which we certainly know well.
01:47How do you prepare in terms of your equipment? I'd like to see what you're taking, because --
01:52Gerd > Douglas? Douglas > When you get in the car?
01:54Gerd > It might not be in that different from you.
01:57I always take one bag which allows me to exist without the rest of the
02:05luggage for at least two days, maybe three.
02:09So the most essentials. One camera.
02:12Douglas > Any backup?
02:14Gerd > No, not on the carry-on. This is my carry-on.
02:18One camera. The most important lenses.
02:21Douglas > Which ones?
02:22Gerd > Wide, medium, and long.
02:24Douglas > Are they zooms?
02:25Gerd > Yeah. Douglas > Can you give us the focal lengths?
02:28Gerd > 16 to 35.
02:30Well, I have a bunch of intermediate lenses like 24-105 and then I'm taking
02:4075-300 zoom, and then I take one strobe.
02:46Douglas > Which you use brilliantly always.
02:49Gerd > And the remote control.
02:53Douglas > For the strobe?
02:54Gerd > For the strobe. And then of course enough flash cards for an extended
03:01period of time. Batteries.
03:03Douglas > How many batteries?
03:05Gerd > Batteries, spare batteries.
03:07Douglas > You must have a charger, don't you?
03:10Gerd > No, because for the first day this would last me through three days.
03:17This is just the emergency equipment. If this and this and the rest was going to get lost,
03:25this will get me until it's recovered, or if it's never recovered until I'm
03:32able to purchase something. Or fly back and purchase something in another part of Europe.
03:39Douglas > Do you need different types of electrical adapters? Gerd > You know the essential things.
03:42Like cleaning, stuff that is hard to come by.
03:45Simply I don't use that many filters anymore, but I still use a polarizer.
03:53And what is very important for my type of photography in the field are these
03:59little gels, handmade--
04:03Douglas > To put over your flash?
04:04Gerd > Over my flash. I always use my flash with a gel.
04:10Douglas > It's a warming gel there.
04:12Gerd > It's a slight warming gel and it's my own system that I actually evolved myself.
04:18Douglas > Used brilliantly.
04:19Gerd > So then I have here my backup camera bodies.
04:24I have backup strobes.
04:28I have additional lenses. I have additional flash cards.
04:33Here is a backup 1DS Mark III, 1DS Mark II.
04:38So I have a lot of backup lenses starting from 14 millimeter to a 24 shift lens
04:48that I use probably inside the reactor for architectural stuff inside the
04:55reactor and then I of course have all my drives.
05:03Douglas > Oh yes.
05:04Gerd > And I'm traveling now with 1.5 terabytes, 1.5 terabytes in the field.
05:09Douglas > Right, to download your images from your cards for security
05:14as backup basically.
05:16Gerd > Yeah and I find Photo Mechanic is still a great tool because I can
05:21download them simultaneously to do two destinations and I can do--
05:29Douglas > Should do a drive and a backup drive?
05:32Gerd > Yeah. I came back once with from one assignment with 30,000 images.
05:38Douglas > That's unimaginable.
05:40Gerd > Yeah. For the time, we'll use this little GoPro camera as a head camera probably when
05:48I'm going inside the reactor.
05:50Douglas > It's a tiny little video camera and inside the rector, that is so smart.
05:54Because you know what happens today, I think most of you'd probably think of it,
05:59but it's not-- We are still photographers, yes, but there is often times
06:03such as when you're in there, if you have that small camera going, sooner or
06:07later I'm sure that video material will go online and find very good use
06:12because the quality of it would be a astonishing and the most important is you
06:17will have it. And by bringing this, comparatively inexpensive, having it with you,
06:22that's all part of evolving and staying with the times.
06:28This is your Geiger counter here.
06:30Gerd > Yeah my Geiger counter goes in here and my strobes, my spare strobes.
06:35Douglas > Okay.
06:38Gerd > Wrapped up and --
06:40Douglas > Why don't you just close this one case?
06:42Gerd > So this is basically everything, maybe one little piece is missing.
06:48So one of my tricks is I never close it completely. I leave it open till the last minute --
06:55Douglas > And that's going to be tomorrow when we come for you.
06:57Gerd > Tomorrow morning.
06:58Douglas > We'll probably give you a call and you'll close it that last moment and
07:02say we'll be there in five minutes.
07:03Gerd > Right, right. When you leave, I'm closing it, because otherwise I am going to reopen it
07:09over and over again.
07:10Douglas > Anyway, tomorrow morning is the day you'll launch. You're going to--
07:15It's one more success for you. I can tell already. Just be careful!
07:18Gerd > I will, I will.
Collapse this transcript
Sustaining a career in photography
00:00Douglas > Remember when we met? I think you said it was like 30 years ago today
00:04or something like that, which was in Australia.
00:06You came to this project which was called A Day in the Life of Australia.
00:11They brought a hundred photographers from all over the world to work on a book project.
00:15It was the first of the series of about 25 book projects of this type that were
00:19done and you said it was a big deal that meet me that first day, which is kind
00:24of funny now, because so much is happening.
00:26You've had such a-
00:28Gerd > One of my heroes. You still are!
00:31Douglas > You are too. It's a two-way street.
00:33Gerd > But there I arrived from Germany and this was a much bigger world then.
00:41It was not as small as today where you know everybody, where you have immediate
00:45access to everything.
00:47But there were these people like Susan Meiselas, Eddie Adams, Salgado, Arthur
00:55Grace, all the people, Donald Falardeau, you name them and these were all...
01:00Mary Ellen Mark. There were all these superstars, and I actually went up
01:06to some of them, including you at some point, and touched you because I thought,
01:11oh my god, I can really touch these people.
01:15Douglas > Well you know that's what people want to do with you these days because
01:18you evolved and developed and your career became major.
01:22Gerd > Well Australia helped me to be put on the map in America because I had
01:27quite of few images in the Day in the Life of Australia.
01:31Then we went to do the Day in the Life Of Hawaii. What was the next?
01:36Douglas > Oh, there was Canada. Gerd > Canada!
01:37Gerd > Oh you were one of the one of the organizers.
01:38Douglas > It's because I'm Canadian, born in Canada in Toronto.
01:40But in any case, just looking at your career, you've made, you've found your way
01:45to such a major position, there were so many changes and I think what's very
01:49significant is how our thought process had to change through the years.
01:53Because originally you tried to get a staff job or a near staff job with one
01:58publication and that did it all.
02:00But it's so changed now.
02:02How do you work today, how does your head work for a business stand point?
02:06Gerd > Well, let's recap first how it was 20, 30 years ago.
02:10You know, we worked for one magazine at a time for--
02:15Douglas > We got nice big pictures in it.
02:17Gerd > An extended period of time even there was a German sports magazine that
02:20I worked for.
02:21I got-- it was very similar like a Geo or National Geographic-
02:26Douglas > Or Sports illustrator.
02:28Gerd > Just Sports, a monthly magazine with really a glossy paper. It was four week jobs.
02:36Douglas > Four week jobs, and boy,
02:37the way those looked in the magazine were exceptional.
02:40Gerd > I had one story of seven consecutive double trucks.
02:45Douglas > How did you find your way from those days to today in the most
02:49direct way you can recall?
02:51Gerd > Well I think first of all when you're a young photographer you're very
02:54excited to be all over the place.
02:57Both stylistically and subject-wise and in terms of region, you know. You're very excited.
03:07I was on every continent within a 12 month period of time and you
03:16start nearly collecting countries.
03:19And when you get older and mature as a photographer you find your own calling,
03:26and it is important, specifically today, that you have this calling, that you are
03:32known for a specific subject or a style.
03:38But, it's not anymore just one magazine.
03:42Now it is crossover. You have to do exhibits. You have to do all these things,
03:49and that developed slowly, as we know.
Collapse this transcript
Photographing Chernobyl
00:00Douglas > Your passion for pursuing the special subjects like Chernobyl, where
00:06you're going tomorrow, that is major because you were there the moment that
00:11the terrible tragedy of Chernobyl happened and photographed the people.
00:14You've got close to the people and the torment of it and the torture of it.
00:18The disfigured children and so much more.
00:21You care about it and you worked through your Russian colleagues, an assistant and
00:27an interpreter.
00:29How did you connect with the people through an interpreter? That is much harder
00:33than most people realize.
00:34How to be nice to a child, if you're just talking to an interpreter or
00:38persuasive to somebody who's not so prepared they help you?
00:42Gerd > Well, when I have an interpreter it's not just any interpreter,
00:47specifically in Russian or the Former Soviet Union.
00:50I've worked with the same person for 20 years now, for more than 20 years.
00:56And we developed an understanding. He doesn't even say in his
01:02transformation anymore, "he says." No, he just speaks--
01:07Douglas > The way in your voice.
01:08Gerd > In my voice, the way I'm speaking , and he is very crucial to my success in
01:16that in that part of the world.
01:19And second of all, I work with a fixer, stringer, or researcher, whatever you
01:25want to name him, in the field because it's still very hard in Russia to get or
01:33in the Former Soviet Union to get anything done without long preplanning.
01:43And so he physically goes and takes a magazine or takes a work that I've
01:48been doing before.
01:50It's a better business card than a National Geographic card.
01:54Photographs-- I tell every young photographer, your business card is all the
02:01pictures that you've taken before, to convince people to get access to allow
02:07them into their lives.
02:08Douglas > And when you ask a subject to allow you to photograph them, especially
02:13if you're doing it in a thorough way like you like to, and allow them to open their
02:17doors of your home or in the case of Chernoby--
02:20Gerd > They're hard in and they're so--
02:21Douglas > And in Chernobyl, it's so much-- It is opening, sometimes showing things,
02:26parts of their life that are painful.
02:27Gerd > Yeah, yeah.
02:28Douglas > And you say, can I do this? And as you want to show the world through
02:32your persuasion, you get those things.
02:34Gerd > One of the advantages I have working either for National Geographic
02:40or in personal long-term projects is that I don't need to walk in shooting
02:46right away.
02:47This is the worst thing. And I can only advise younger people, anybody, don't do it.
02:55Just come near--
02:56Douglas > Don't do what? Excuse me.
02:57Gerd > Don't walk in just like a person that has a camera instead of a head.
03:01Douglas > What if you have only one hour?
03:02Gerd > In my situation, I'd rather take the first minutes even if I only had only
03:14an hour. Thankfully I'm not in a situation where I usually only have an hour.
03:20But I take the first time to feel the person and to allow them to feel me, that
03:29there is a communication.
03:31A photograph is a collaboration between the person that you photograph, if it is
03:38a person, and the photographer. In its ideal sense.
03:44Douglas > But somebody like you Gerd has to, I repeat myself, always deliver.
03:49You go through a lot.
03:50You're going through your 23, 24 plus hours to get there.
03:56Then you have to fall on your feet, find your way around there, and something I've
04:00found when I do those major jet lag changes is-- And I don't know if you have experienced
04:04and I want to ask you.
04:06Sometimes I feel at that moment when I get there with the world sort of on my
04:10shoulders, somewhat depressed.
04:12So now having experienced that through the years, I just say, oh!
04:16It's just thing. And you lift your head up, you get going, and move on.
04:21Have you experienced that depression at first?
04:24Gerd > No, no.
04:25Douglas > You haven't? Gerd > No, I haven't had the depression.
04:27It's more of a feeling of fear.
04:29"Oh my god, there is such a big job in front of you."
04:37And I always think that fear is necessary for me to do my best work.
04:43Douglas > What - how you deal with it?
04:44Gerd > Whenever I go into the job "oh piece of cake",
04:51chances are that you don't give your best.
04:54That fear really produces the energy to overcome obstacles.
05:00Douglas > How do you cope with that fear, maybe marginal panic, how do you
05:05cope with it?
05:06I'm saying the word panic. That may not be accurate. Is it?
05:09Gerd > Not panic, not panic, but a good portion of fear. Will I be able to
05:16deliver in the given time?
05:21More that I make a mental concept of what I'm doing.
05:29I think we all do this on behalf of otherwise voiceless victims.
05:40When I go to Chernobyl, these people have no voice other than through me and
05:48it goes back to convincing the people to allow themselves to open up to the camera
06:00and show their suffering. And especially the people in Chernobyl.
06:04They know that this is not going to change their lives anymore.
06:10But they simply do it in the hopes that catastrophes like Chernobyl will be
06:17prevented in the future and therein lies a huge responsibility for me as a
06:26photographer to give my best, to give my most honest, and to really make
06:34images that are emotional.
06:38I think that a great photograph touches the soul and broadens the mind.
Collapse this transcript
Crowdfunding and looking forward
00:00Gerd > When I was a young photographer I often thought of photography only as the art
00:06and I didn't want to have anything to do with the business side of it.
00:10Oh my God, it's not an industry. I'm in art firm and not-- I hated the term it's
00:17an industry, it's a business.
00:20And I've learned over the years that as a photographer as I'm losing
00:27certain outlets for income, I have to be creative to gain other areas of
00:37income somewhere else.
00:40I think if you're creative person, you have to apply that creativity also to the
00:47business side of it.
00:48Because you're not a great photographer if you lack the funds to actually
00:56photograph. Because then you're not producing anything that is close to your heart.
01:03Douglas > I think it is very important that it's stated how you are going right
01:07to Chernobyl.
01:08You were initially assigned this by National Geographic and then you've been
01:14there twice for them have you?
01:15Gerd > Yeah.
01:16Douglas > And this was like okay the clock is running, they're paying you money, or
01:20making a living, and you're communicating a story that you feel has to be told.
01:26Gerd > Well it's started out that I had assumed all along I would find some
01:32magazine that would be-- Douglas > A sponsor of??
01:34Gerd > No, some magazine that would be interested in sending me back there.
01:38Of course for an extended period of time and for such an expensive place like
01:44Chernobyl, hard to believe but they charge $600 a day for a driver and a car in
01:54the zone simply because they can.
01:58But I didn't find anybody to assign me to do it and I wanted to do it so
02:04badly, so I was thinking of other ways to collect the money and it was
02:15actually Brandon, my studio manager, that pointed out that crowd funding has
02:20become more and more popular.
02:23Douglas > What kind of funding?
02:24Gerd > Crowd funding has become more and more popular to finance your own projects.
02:33Not only for photography. For bookmaking, for music, for art.
02:38Douglas > How do you describe crowd funding?
02:41How do you describe it, how does it work?
02:42Gerd > Crowd funding is when the general public, an interested public, basically
02:48votes with their pocketbooks to support a certain creative project via Internet.
02:59There are a number of web sites out there, Kickstarter being the most prominent one,
03:06one and basically what you do you write to them and give them a statement, this
03:13is what you would love to do. And they have to approve it.
03:17(Music playing)
03:27Gerd > My name is Gerd Ludwig and I've been photographing for National Geographic
03:32magazine for over 20 years focusing on environmental issues and the changes in
03:38the former Soviet Union.
03:41To commemorate the disaster, 25 years later I'm set to return with my cameras to
03:47investigate the current state of contamination, the progress of the cleanup, and
03:52the health consequences in the fallout region.
03:54I am asking for your support, so that this important story will not be forgotten.
04:04Gerd > You also have to think through that you want to give those people who pledge
04:10some money over the Internet, over Kickstarter, with a credit card that they get
04:16something in return.
04:18In my case for a donation of $10 they get a postcard, for $45 they get a
04:26poster, for $100 they get my book Broken Empire signed by me, for $500 they get
04:35a print, and I've made it even so that companies can put their logo on my
04:43web site for $2000.
04:46I created simultaneously a Facebook page, a German web site, and an American
04:53language web site for the Chernobyl Project.
04:58Initially, this crowd funding came from really young people and I was one of the
05:05first rather established photographers to say well, I don't need be that arrogant
05:12and say oh no, this is only for people that are--
05:15Douglas > For kids! Gerd > For kids.
05:17Gerd > Let's looks at that new technology and use it.
05:22I have to look ahead and learn from the younger generation. We have to learn
05:29from the younger guys where the work does.
05:30Douglas > Yeah, I too, I agree. I learned with people who work with me.
05:34I mean honestly, they learn from me but it's a two way process.
05:37Gerd > Yeah, yeah.
05:38Douglas > Because, you know, I worked with the computers ever since there
05:43were computers almost.
05:44But what they do with them today is different and that's cool and I want to be part of it.
05:49I don't want to go to sleep someplace.
05:51I just don't want to. All of it is exciting stuff.
05:54Gerd > Exactly. Douglas > Hey listen. We're going to keep knocking them dead!
05:57Gerd > Yeah, right! Douglas > Have a good trip man!
Collapse this transcript
After the trip
Chernobyl today
00:00Douglas > Well Gerd, welcome back.
00:02I am glad you are safely home. It seems like just yesterday we put you on the plane
00:06on your way to Chernobyl and you have had a lot of experience since that.
00:11So I would like you to share some of that with us.
00:13What's happened to you out there, what did you find and discover?
00:16Gerd > It's amazing how much has happened since we last met.
00:20Chernobyl of course is an incredibly complex subject.
00:24So when I got there, I found certain things to be very much the same as they
00:30used to be and real surprises.
00:34What is still the same are the health consequences. The radiation doesn't go away.
00:43People are still affected by it. Even the younger generation is effected by it.
00:48A young girl that was born just outside of the zone, her mother had lived during
00:56the accident very close to the Chernobyl zone and the girl has spend most of her
01:03young live in the hospital. When she plays with the other children, she plays
01:10doctor and nurse and in a really emotional gesture, her mother says, "But we have
01:20to have your angel in here in the picture."
01:26This guy who lives back in the zone now since more than 20 years is suffering
01:34from loneliness as he admitted since his wife died about 5 years ago and he
01:40doesn't have much communication with his neighbors.
01:42Douglas > You bring us really into the human devastation and that's what's the
01:46richness of your images.
01:47Gerd > Some of that is still the same, the people returning, the people living out
01:55their lives instead of dying of a broken heart in an anonymous suburb.
02:01In the beginning they were chased down by the militia who tried to get
02:06them out, but now they accept that they return and live out their lives on
02:12their own soil.
02:14What is new is the new construction over the shelter, so there will be a new
02:22shelter, a new safe confinement built over the existing one, because the
02:27existing structure is unsound and leaky and could collapse at anytime.
02:36Douglas > Is that really preventing it from going further, reaching out further?
02:41What happens actually, what are we seeing here?
02:44Gerd > What you see here, there are huge 25 meter long metal pipes that are going
02:51to be hammered into the ground and they just spilled a base for a new safe
02:59confinement, which is eventually going to slide over the whole structure and in
03:05case the old structure and the radiation inside.
03:11Douglas > What was the kind of money you said it cost to put this up?
03:14Gerd > $2.2 billion.
03:15Douglas > $2.2 billion? Gerd > $2.2 billion!
03:19Douglas > And you said the life expectancy of this is what?
03:23Gerd > About 80-100 years and then they have to find a new solution.
03:28It was meant to be finished already years ago, but it's been postponed over
03:37and over again.
03:39The work is going on the contaminated ground in front of the western wall
03:46which has been stabilized as we see in the back, but the workers are still
03:53wearing protective gear and facemask because of the hazardous contamination
03:59that still exists there.
04:03I was able to return back inside the reactor where the work has now come to a stop.
04:12This is an image of the so called leaning staircase which was built
04:18afterwards to give access to the workers that were only allowed to work a
04:27single shift of 15 minutes per day.
04:32This is one of the highest contaminated areas there and I was able to access
04:40that area; however there is no work going on anymore.
04:44Douglas > Very vulnerable for you I would think.
04:46Your time, you have 15 minutes, not more yourself. You are in danger yourself if
04:52you are not watching that.
04:53Gerd > I had a guide with me who was this time constantly monitoring the
05:00radiation and on a decimeter was able to see accumulative how much radiation
05:08I got during that day and how much would I be able to still stay in this specific area.
05:19This was very highly contaminated area here where we could actually only stay
05:25for a few minutes, 2 to 3 minutes.
05:29This situation is very hard to shoot.
05:32You have low light, you have a one strobe on your camera, and I did not have
05:39an assistant.
05:40I would have wanted to go in there with two cameras, but that would have been
05:45too bulky because for the first time I wanted to try to show in a video what
05:52it feels like to be in there.
05:56So ahead of time-- and you saw me packing for this, I did take this little
06:03camera, the GoPro camera.
06:06Douglas > How did you use this?
06:07Gerd > You can set it ahead of time, and because time is very valuable and limited,
06:16and I put it on my helmet, strapped it on to my helmet, and I headed as--
06:23instead of a headlamp basically, I had this video camera.
06:28Douglas > Your first job is to get great stills of course because you want stills.
06:32This is a supplement and this is something you probably would never have
06:35realized 5 years ago. This is the new Gerd Ludwig, this is new photojournalism.
06:40Gerd > Exactly!
06:41It's the new work of a photojournalist or a documentary photographer.
06:46What the camera really gave me is that feeling of darkness. Whereas the images
06:53show fairly clear the situation that I was in, the camera adds to the feeling
07:04and what you hear in the video is that sound of Geiger counter.
07:10Douglas > I would like to hear that.
07:11Gerd > So here we have it.
07:13Douglas > Okay.
07:15(Metallic rattling noise)
07:39Gerd > Sawing of the bureaucratic barriers helped me to venture deeper into the
07:43reactor than any Western still photographer.
07:45After dawning my protective gear, I followed a group of workers into the
07:52belly of the beast.
07:53They were assigned to drill holes in the concrete to stabilize the roof and
07:59additionally, there were gas mask and oxygen tanks. We had to move fast.
08:07The access was limited to a maximum of 15 minutes per day.
08:16We rushed through dimly lit tunnels strewing with wires, shredded metal,
08:20and other debris.
08:22While photographing I needed to dodge the spray of sparks from the drillers and
08:27highly contaminated concrete dust. And I knew I had only a few minutes to
08:33capture impacting images of an environment that few have ever seen and that I
08:39might never access again.
08:40After little more than halfway through the allotted shift, our Geiger counters
08:47and decimeters began beeping errie concert reminding us that our time was up.
09:00Douglas > Amazing stuff, Gerd.
09:02Gerd > It gives you the feeling of being on the ground there, something that
09:09with that sound of the Geiger counter, the still picture really cannot do.
09:16Douglas > What changes have you seen there?
09:19Gerd > One of the biggest changes is surprisingly tourism to the town of Pripyat.
09:26That the Ukrainian authorities have opened the zone to tourism.
09:34Now tourists can go in-- of course not to those areas that I had access to.
09:40They can go in and get a few minutes to shoot from outside the reactor. They are
09:48told stay on the pavement there, stay on the ground, don't go on the grass
09:54because on the grass the contamination is much-much higher. And they are rushed
10:00out after a few minutes and then they get to see classrooms and the schools and
10:05the kindergartens, the empty buildings.
10:09It's a very surreal situation where these tourists coming in.
10:15This one guy brought his own gas mask, not because he wanted to protect
10:21himself or because he was afraid. He said just for kicks and to be
10:28photographed by his peers.
10:30Douglas > It seems strange to be making sort of doing something for kicks in the center
10:34of all this devastation, but look at this. This is hard to imagine.
10:39There is an amusement park in the background, isn't it?
10:43Gerd > This is a Polish tourist-- It is, the amusement park that never started,
10:49and now tourist are running around and photographing themselves.
10:54A very strange situation because this metal here is really still very
11:00highly contaminated.
11:01Douglas > Is that lady in danger sitting there?
11:03Gerd > She can endanger herself for brief because if she picks up some particles
11:10there specifically because that areas has not been cleaned very well.
11:14Douglas > It doesn't sound like the ideal vacation spot.
11:18Gerd > No, it's not.
11:19Douglas > But people are curious.
11:21That's really where it comes down to.
11:23What do we have here?
11:24Gerd > This has become the standard motif for tourists.
11:30They are trying to simplify the message. You find doll and you find gas masks,
11:37but this is an image that certainly looks and certainly has been arranged by a
11:45tourist to simplify the message.
11:49It is in this environment, but if you look carefully this was not there the way
11:58it is presented, and you find tourists are changing that environment, specifically
12:06in the city of Prypiat where they have access.
12:09Out in the zone, areas that tourists don't get to see much, that's where the
12:18returnees live. This women lives there and now she even has chickens and pigs
12:26that they raise, but in a village of maybe 3000 people, 5, 10, 15 people live
12:36there now. In between them is total devastation.
12:40Douglas > She just wants to live her life out as she has known it.
12:43Gerd > Yeah!
12:44What you have here is one of the so called liquidators.
12:49Eventually, the Soviet Union brought in 600,000-800,000 liquidators that helped
12:57with the cleanup. He now has only a few months to live and what is interesting
13:04is that he said "Even though I know that most likely my disease", he has a serious
13:14heart problem, "has been caused by the radiation,
13:21I would not do anything different if I had to do it again."
13:26"We were educated, we were brought up to serve our nation, and that's what I did
13:36and I wouldn't do it any different again."
13:38Douglas > So this is extraordinary, looking at these individuals, because it
13:42becomes a human reality. It's just not a major new story, but you look at this
13:47individual and the lady before and all these people, the children at the
13:51beginning, it's amazing story you are telling, Gerd.
13:54Gerd > After all, it is a story about humans and human hubris and
14:03human irresponsibility.
14:08Another one of these ladies that returned back into the zone. She is 93 years old,
14:15she lives all by herself, and since she has hard time walking and getting
14:22around, she is not getting to see many people at all.
14:26Her children come and visit every 6 months or so. Other than that.
14:32Douglas > So basically, she is forgotten.
14:33Gerd > Yeah.
14:36This is actually the only image that I am showing you that was taken 6 years ago.
14:41A school room and you see that the dignitaries portraits are still on the wall.
14:48When the accident happened, Pripyat was evacuated super fast.
14:54But things are changing even in the zone. A typical school room looks like this
15:00today, because meanwhile scavengers have come in and have taken out anything
15:08that is off some kind of use, specifically scrap metal, even a bench or frame
15:16here and there, and this is the look of the empty school rooms today.
15:22Douglas > That's amazing.
15:24It suggests a desperation on the part of the people to have these acquisitions.
15:29And I assume they take them and try to reuse them and not acknowledge that they --
15:33Gerd > Some of them are being reused, but some stuff is also sold on the markets nearby.
15:40Douglas > On what basis is it sold on, that it is survived the --?
15:45Gerd > No, no.
15:47Douglas > Just sold as "here is a chair."
15:49Gerd > No, yeah it's a chair and the people don't know where that chair came from.
15:56So the radiation is spreading outside of the zone in many different ways.
16:03And this is a former sports complex and you see how the floors are rotting and
16:16everything in there from the balls that were left there, everything is gone
16:24and has been taken out.
16:25Douglas > How many times have you been to Chernobyl now yourself Gerd?
16:28Gerd > Well major trips were 3.
16:33One in the early 90s, one in 2005 and one just recently, but these major trips
16:42all consisted of repeated entries into the zone, going in and going out.
16:49Douglas > You are a brave man, really.
16:50Gerd > Because specifically in the early years I was not allowed to stay longer
16:56than 2 weeks at a time.
16:58So I had to leave the zone for a few days and then I was able to reenter.
Collapse this transcript
The future of the project
00:00Douglas > I wanted to ask you something, did you not learn about the devastation
00:05in Japan when you were in Chernobyl or was it after you came out?
00:09Gerd > I learnt about it when I arrived in Kiev and I was shooting a few days in
00:18the hospitals of the area in one of the radiology centers which takes care of the
00:27sick people in Kiev, and that's when I learned about it.
00:33But then afterwards I did not have any more information, because once I entered
00:38the zone there was no Internet access for two weeks and I did not know what
00:46happened. The television had only a few programs and we were not able to
00:53understand any of the Ukrainian news.
00:55Douglas > It's not in Russian, it's Ukrainian.
00:58Gerd > Yeah, so I learned a bit from the scientists in the reactor, from
01:04the personnel, from our security guards, but it was all a second and third-hand information.
01:11Douglas > If I understand correctly the people at Time magazine were trying to
01:16get the go to guy, Gerd Ludwig, to go to Japan.
01:18Gerd > That's right.
01:19Douglas > But they couldn't get a hold of him because he was at Chernobyl without
01:24very much communication.
01:25Gerd > That's right.
01:26I would not have been able to interrupt my assignment in Chernobyl anyway.
01:31I would have gone if it had been a different timing.
01:36However, I want to stay with the subject of Chernobyl.
01:41After all, it will always remain the first major disaster and everything that's
01:50coming afterwards is secondary at this point, thank God.
01:56Douglas > Well, your work is wonderful.
01:57It's a great contribution.
01:58Gerd > Good things have actually come out of it because we had two major exhibits.
02:06One was at the EBRD, the European Bank of Reconstruction and Development in
02:13London, with a lot of the ambassadors attending, and it showed these very
02:23emotional images to an audience that is responsible or contributes to the funds
02:36for the new safe confinement.
02:39And a second exhibit happened in Germany where we had an exhibit at a photo
02:46festival and it had a very interesting location.
02:53As it was in the former East Germany, there was a building that used to be the
03:01Navy, the military building.
03:06And it housed the sailors and the marines of East Germany.
03:13And the building is totally run down today.
03:17And we had the exhibit, not only as an exhibit of images, but also some of
03:25the video was playing and we had boards of information about the accident
03:31altogether.
03:32The people were coming out devastated.
03:35They had to sit down and were really moved, because it gave you the feeling
03:44of entering into a room in Prypiat, the town in the Chernobyl zone.
03:51Douglas > Where does all this take you and then in the future?
03:54How is it evolving for you in your mind?
03:56Gerd > Right now I'm working on an iPad app that could be viewed on the iPad, on
04:04a computer, on the iPhone.
04:06Douglas > On a smart phones as well?
04:07Gerd > Yes, and that will give not only 140 images altogether but it'll also
04:16give some of the video.
04:18It'll give a history of Chernobyl and it will give web sites that give you
04:27information about Chernobyl and will actually even give you web sites where you
04:32can donate to the victims of Chernobyl.
04:37So that it appeals to a much wider audience than just the photo communities.
04:44Douglas > It's going to be seen by a lot of people,. I am certain millions will see it.
04:47Douglas > What I want to do is thank you for all of us for coming here today
04:52and sharing this with us. It is very, very important.
04:54Your story is in an extremely important one and people should know about it.
05:00Gerd > It's always my pleasure to talk to you, Douglas.
05:02Douglas > You're a great photographer and a wonderful photojournalist, and above all,
05:06a wonderful friend.
05:08Douglas > Thank you. Gerd > Thank you.
Collapse this transcript
About the Author
Meet Douglas Kirkland
00:06I grew up in a small town in Canada.
00:08Only 7000 people.
00:11The first picture I ever took was taken with a box camera, a Brownie box camera,
00:16and I remember pushing it into my chest, 10 years of age at the time, and
00:20pushing that device down and it went clunk.
00:24I got the buzz right then and it's never stopped since.
00:27Speed Graphic was the camera of the time and if you had this in your hand as a
00:34young man, I have to tell you, you really felt you were hot.
00:38Turn this way, that way.
00:40I mean, that was a charge of like nothing else.
00:45I got a call from Look magazine.
00:49I was basically hired to shoot fashion and I was the new generation.
00:54I was in my mid 20s.
00:56The year was 1960.
00:58And then my boss in New York called me and he said, "We'd like you to go to Las Vegas
01:03with our movie editor because Elizabeth Taylor, who hasn't been
01:06photographed or had a story done on her in about 2 or 3 years now, has said
01:11she'll give us an interview."
01:12I sat quietly in the back of the room as the journalists interviewed her and
01:19I went up to her at the end and I took her hand and said, "Elizabeth, I'm new with
01:25this magazine," looking her straight in the eye just like I am you.
01:30"Could you imagine what it would mean to me if you'd give me an opportunity
01:34to photograph you?"
01:35I was holding her hand still. Pause.
01:37She probably thought she was never going to be released.
01:42And then she said, "Okay... Come tomorrow night at 8:30."
01:47To make a long story short, I did.
01:50And I got pictures that ended up really starting my career
01:54photographing celebrities.
01:56I had the cover of Look magazine, my first cover, and from then it was like an
02:01explosion of possibilities.
02:04This camera is the one that I actually used to photograph Marilyn Monroe, this
02:08very camera, this 500C.
02:11We went to visit her in her Hollywood home.
02:14It was this camera, myself, Marilyn.
02:17A wonderful photo session that went on for about three or four hours.
02:21And I feel a great attachment to this.
02:25I've been very careful to hold onto my images.
02:29Ever since I was always able to keep my pictures, so that's why I have all these books.
02:3315 in all at the moment I believe.
02:36I'm best known for my work around entertainment and these are work from the movies.
02:41You know they're different times, different places.
02:45I've worked on 160 films in all by our last count.
02:50For me, one the most significant and important areas of working with people is
02:55to know your subject, feel sympathetic toward them.
02:59You have to feel that I care about you, and I do.
03:03Boy do I ever!
03:04Because I know that what you have in you is going to make a great image.
03:09And honestly, you can have any lens in the world or any type of camera, but if
03:13you do not have a subject who is connecting with you, your chances are
03:17substantially reduced of getting a good image.
03:22I learned from a lot of different sources and resources certainly, in
03:27photography in the early days and later on with computers.
03:30I asked a lot of people a lot of questions.
03:33And I had a lot of wonderful people help me.
03:35And frankly, years ago, somebody gave me a lesson I've really held onto and
03:40I feel this this way very strongly.
03:43Do the same for somebody else.
03:47Wen you receive something good just pass it along.
03:50And I hope that you get out of this something special.
03:53And I'm trying to pass it along to you.
03:55I care about it.
03:56I hope you do.
Collapse this transcript


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Douglas Kirkland, Photographer (1h 15m)
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