레이블이 photographer인 게시물을 표시합니다. 모든 게시물 표시
레이블이 photographer인 게시물을 표시합니다. 모든 게시물 표시

2014년 10월 14일 화요일

[AP] AP photographer killed, reporter wounded

AP photographer killed, reporter wounded

11 photos
FILE - This 2012 file photo shows Kathy Gannon, left, Associated Press special correspondent for... Read more
KABUL, Afghanistan (AP) — An Afghan police commander opened fire Friday on two Associated Press journalists, killing Pulitzer Prize-winning photographer Anja Niedringhaus and wounding veteran correspondent Kathy Gannon — the first known case of a security insider attacking journalists in Afghanistan.
The shooting was part of a surge in violence targeting foreigners in the run-up to Saturday's presidential elections, a pivotal moment in Afghanistan's troubled recent history that promises to be the nation's first democratic transfer of power.
Niedringhaus, 48, who had covered conflict zones from the Balkans in the 1990s to Iraq, Libya and Afghanistan, died instantly of her wounds.
Gannon, 60, who for many years was the news organization's Afghanistan bureau chief and currently is a special correspondent for the region, was shot three times in the wrists and shoulder. After surgery, she was in stable condition and spoke to medical personnel before being flown to Kabul.
Niedringhaus and Gannon had worked together repeatedly in Afghanistan since the 2001 U.S.-led invasion, covering the conflict from some of the most dangerous hotspots of the Taliban insurgency. They often focused on the war's impact on Afghan civilians, and they embedded several times with the Afghan police and military, reporting on the Afghan government's determination to build up its often ill-equipped forces to face the fight against militants.
Gannon, who had sources inside the Taliban leadership, was one of the few Western reporters allowed into Afghanistan during the militant group's rule in the 1990s.
The two journalists were traveling in a convoy of election workers delivering ballots in the eastern city of Khost, under the protection of Afghan security forces. They were in their own car with a translator and an AP Television News freelancer waiting for the convoy to move after arriving at the heavily guarded security forces base in eastern Afghanistan.
A unit commander identified by authorities as Naqibullah walked up to the car, yelled "Allahu Akbar" — God is Great — and fired on them in the back seat with his AK-47, said the freelance videographer, who witnessed the attack, which left the rear door of the car riddled with bullet holes. The officer then surrendered to the other police and was arrested.
While there have been repeated cases in recent years of Afghan police or military personnel opening fire on and killing international troops working with the country's security forces, Friday's attack was the first known insider shooting of journalists.
Past attacks have been carried out by suspected Taliban infiltrators or Afghans who have come to oppose the foreign presence in the country. At their worst, in 2012, there was an average of nearly one a week, killing more than 60 coalition troops and prompting NATO to reduce joint operations with Afghan forces.
Taliban spokesman Zabihullah Mujahid denied responsibility for Friday's attack. Khost Provincial Police Chief Faizullah Ghyrat said the 25-year-old attacker confessed to the shooting and told authorities he was from Parwan province, northwest of Kabul, and was acting to avenge the deaths of family members in a NATO bombing there. The claim could not be corroborated and officials said they were still investigating the shooter's background.
Ghyrat said the police commander told authorities he had seen the journalists, decided to act, and then demanded the assault rifle from one of his subordinates.
The shooting came on the eve of Afghanistan's elections for a new president and provincial councils. With international combat forces preparing to withdraw by the end of this year, the country is so unstable that the very fact the vote is being held has been touted as one of the few successes in outgoing President Hamid Karzai's tenure.
The Taliban have vowed to disrupt the vote and have stepped up violence in recent weeks, including increased attacks on civilian targets in Kabul and the killings of a Swedish journalist and an Afghan journalist for the French news agency Agence France-Presse.
Karzai said in a statement that he "grieved" Niedringhaus' death and wished a quick recovery for Gannon. He also ordered an investigation into the shooting.
In a memo to staff, AP President Gary Pruitt remembered Niedringhaus as "spirited, intrepid and fearless, with a raucous laugh that we will always remember."
"Anja is the 32nd AP staffer to give their life in pursuit of the news since AP was founded in 1846," he wrote. "This is a profession of the brave and the passionate, those committed to the mission of bringing to the world information that is fair, accurate and important. Anja Niedringhaus met that definition in every way."
Niedringhaus joined the AP in 2002, and while based in Geneva worked throughout the Middle East as well as Afghanistan and Pakistan. In 2005, she was part of the AP team that won the Pulitzer Prize for breaking news photography for coverage of Iraq, and was awarded the Courage in Journalism Award from the International Women's Media Foundation, among many journalistic honors. In 2006-07, she studied at Harvard University under a Nieman Fellowship.
"What the world knows about Iraq, they largely know because of her pictures and the pictures by the photographers she raised and beat into shape," said AP photographer David Guttenfelder. "I know they always ask themselves, 'What would Anja do?' when they go out with their cameras. I think we all do."
"She truly believed in the need to bear witness," said Santiago Lyon, AP vice president and director of photography.
Niedringhaus captured what war meant to her subjects: an Afghan boy on a swing holding a toy submachine gun, a black-clad Iraqi giving a bottle to her baby as she waits for prisoners to be released, a U.S. Marine mourning the loss of 31 comrades.
Others showed life going on among the killing: a Canadian soldier with a sunflower stuck in his helmet, a young girl testing her artificial limbs, while her sister teasingly tries to steal her crutches, a bearded Afghan man and grinning boy listening to music on an iPod borrowed from German soldiers.
At an exhibit of her work in Berlin in 2011, Niedringhaus said: "Sometimes I feel bad because I can always leave the conflict, go back home to my family where there's no war."
Niedringhaus started her career as a freelance photographer for a local newspaper in her hometown in Hoexter, Germany, at age 16. She worked for the European Press Photo Agency before joining the AP and had published two books.
Gannon, a Canadian journalist based in Islamabad, has covered Afghanistan and Pakistan for the AP since the mid-1980s. A former Edward R. Murrow fellow at the Council on Foreign Relations in New York, she is the author of a book on the country, "I Is for Infidel: From Holy War to Holy Terror: 18 Years Inside Afghanistan." She also was awarded the Courage in Journalism Award from the International Women's Media Foundation, in 2002.
After Friday's attack, Gannon underwent surgery in Khost and was said to be stable. She was then flown to Kabul for further treatment.
Niedringhaus drew praise Friday from battlefields to the White House. She was honored at a United Nations briefing, and German Chancellor Angela Merkel's spokesman, Steffen Seibert, tweeted condolences. White House spokesman Josh Earnest said she and Gannon were in President Obama's thoughts and prayers.
In Washington, Pentagon spokesman Col. Steve Warren condemned "this senseless act of violence against these brave professionals covering this important political transition in Afghanistan."
The Committee to Protect Journalists said the loss of Niedringhaus and the wounding of Gannon "reflect the heightened dangers of reporting from Afghanistan."
"As pre-election violence mounts, Afghanistan has become a dangerous assignment on par with the height of the Iraq war or the current situation in Syria," said Bob Dietz, CPJ's Asia program coordinator.
The militants have increasingly been targeting Westerners.
Nils Horner, a 51-year-old Swedish journalist who had worked for Swedish Radio since 2001 as a foreign correspondent, was killed by a shot in the head as he was reporting on Afghanistan's election in Kabul in early March. An extremist Taliban splinter group later claimed responsibility.
On March 21, four gunmen opened fire in a crowded restaurant frequented by foreigners in the Serena Hotel in Kabul, killing nine people. Among the dead was Sardar Ahmad, a respected 40-year-old Afghan journalist with AFP. His wife and two of their children also were killed, while their nearly 2-year-old son was badly wounded.

2013년 12월 5일 목요일

[BBC Culture] Is traditional fashion photography finished? By Philippa Warr

New technology is shaking things up in style photography. Philippa Warr speaks to legendary photographer Nick Knight about the radical shifts taking place. 

Nick Knight has collaborated with Diesel and designer Nicola Formichetti on the fashion campaign for #DIESELTRIBUTE. (SHOWstudio.com/Nick Knight)

"Fashion photography has changed."
World-famous image-maker Nick Knight is telling me how smartphones and advances in image-editing apps are fundamentally altering his line of work, perhaps even rendering traditional fashion photography obsolete. Technological advances are opening up image capture and manipulation to a wider audience, enabling big budget effects on everyday devices, while behind the scenes the power balance between model and magazine is shifting.
Knight makes a case for photography − as we understand it − being over. His point is that it used to be relatively straightforward. "The image-making I do now is no longer defined by any of those parameters," he says "I've argued strongly for the last ten years or more that we have to say photography is finished − it isn't the medium we use anymore."
Of course, photography still exists, but for Knight it's no longer the medium we turn to when we want to communicate visually. "There's a new medium called image-making which behaves in a completely different way, is done by completely different equipment and is expressed in completely different chemicals and minerals."
He's referring to devices like smartphones and applications like Instagram, which allow for near-instant image editing; and can be shared immediately with a massive global audience.
"Accessible yet still magical," is how Justin Cooke describes Instagram and the work which appears on it. Cooke is now CEO of the agency Innovate7 but used to work as vice president of PR at Burberry. He was part of a team who met with Kevin Systrom, co-founder of Instagram. Adoption of the app by Burberry while Instagram was still up-and-coming was vital in keeping the brand ahead of the competition, according to Cooke.
"Instagram was one of those apps that come up every so often like Twitter or Glitché or Mega Photo that allows you to do at the click of a button what before would have taken a long time," says Knight. "I like it because I'm not someone whose primary way of expressing themself is through writing."
Back to the future

The imagery Knight now creates is often shot directly on his iPhone and then run through a selection of image-editing apps − the aforementioned Mega Photo and Glitché being favourites − or traditional Photoshop (as with his beautiful images seen in the catalogue of Somerset House in London’s exhibtion Isabella Blow: Fashion Galore!). Knight’s images are then uploaded to his Instagram account.
"It took me back, in a weird way, to the beginnings of my love of photography in the 1970s. I could create something from the world around me, but of course you have to go through the whole process of having the film developed, printing it in the darkroom and finding somewhere to show it. That bit has been super-accelerated."
This acceleration suits the internet well. As Knight points out, most people get their style information online now, and that makes it the most appropriate medium for publishing fashion images − far more so than traditional magazines. Clothes are ultimately designed with movement in mind – and the possibilities of image-making – and video −stretch beyond those offered in print.
Out of print?

The changing nature of fashion photography, and photography in general, will affect traditional practitioners and has (unsurprisingly) been met with resistance from some. "There's a certain amount of very understandable reluctance," says Knight. "Where there is a sense of fear is from people who are going to be put out of work by it or who are going to have to change their way of thinking" − magazine promoters, for example, whose job it is to lionise print.
Models, however, stand to benefit greatly from the changes. Traditionally models have been beholden to magazines for work and for exposure but at this point Cara Delevingne has over three million followers on her Instagram account; Kim Kardashian has eleven million.
"I don't think it's sunk in to the models yet but they have the balance of power now," says Knight. "That power shift is something that's fundamental and will change how we perceive people and how the whole system operates." Once the power shift is understood the models will likely have a very different relationship with the fashion publications that sell perhaps a couple of hundred thousand copies. "The models can say, 'Wait a minute, by a factor of a hundred you should be working for me'. So it changes things a lot."
What are the limitations of smartphone photography? As an enthusiast and an earlier adopter Knight has had time to critically assess the options available through the App Store and elsewhere. I ask what, in an ideal world, he would like to add to his current smartphone toolkit. The answer, surprisingly, goes back to traditional photography.
"The default [on smartphones] is a wide angle lens − that's fine for certain sorts of photography or certain sorts of image making. You can see why people did it: 'I want to take a picture of my friend sitting in the car seat opposite me and if I've got a wide-angle lens I can get most of my friend in’." But it's not ideal for all situations and can also create distortions.
Knight's observation highlights just how young this medium is. There is a plentiful supply of apps designed to paper over the limitations of smartphone cameras and even more which achieve effects and circulation boosts either impossible or hugely time consuming with traditional cameras. But there are also technical developments needed − for example, in the realms of lens-making − before the full extent of the repercussions on traditional fashion photography can be known.
As Knight sees it, the image making we have now is an area ripe for invention and marked by the capacity for innovation. As he says, "It hasn't defined itself yet."
If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our 
Facebook page or message us on Twitter. 

Stunning Portraits Of The World’s Remotest Tribes Before They Pass Away (46 pics)

Stunning Portraits Of The World’s Remotest Tribes Before They Pass Away (46 pics)


Living in a concrete box with hot water pouring from the tap, a refrigerator cooling our food and wi-fi connecting us to the rest of the world, we can barely imagine a day in a life of, say, Tsaatan people. They move 5 to 10 times per year, building huts when the temperature is -40 and herding reindeer for transportation, clothing and food. “Before They Pass Away,” a long-term project by photographer Jimmy Nelson, gives us the unique opportunity to discover more than 30 secluded and slowly vanishing tribes from all over the world.
Spending 2 weeks in each tribe, Jimmy became acquainted with their time-honoured traditions, joined their rituals and captured it all in a very appealing way. His detailed photographs showcase unique jewellery, hairstyles and clothing, not to forget the surroundings and cultural elements most important to each tribe, like horses for Gauchos. According to Nelson, his mission was to assure that the world never forgets how things used to be: “Most importantly, I wanted to create an ambitious aesthetic photographic document that would stand the test of time. A body of work that would be an irreplaceable ethnographic record of a fast disappearing world.”
All of his snapshots now lie in a massive book and will be extended by a film (you can see a short introduction video below). So embark on a journey to the most remote corners and meet the witnesses of a disappearing world. Would you give up your smartphone, internet and TV to live free like them?
Source: beforethey.com Book: Amazon.com

Kazakh, Mongolia







Himba, Namibia





Huli, Indonesia and Papua New Guinea





Asaro, Indonesia and Papua New Guinea



Kalam, Indonesia and Papua New Guinea



Goroka, Indonesia and Papua New Guinea







Chukchi, Russia







Maori, New Zealand









Gauchos, Argentina







Tsaatan, Mongolia





Samburu, Kenya







Rabari, India







Mursi, Ethiopia



Ladakhi, India



Vanuatu, Vanuatu Islands



Drokpa, India





Dassanech, Ethiopia



Karo, Ethiopia





Banna, Ethiopia





Dani, Indonesia and Papua New Guinea





Maasai, Tanzania



Nenets, Russia










2013년 11월 5일 화요일

[National Geographic: August 2013] Secrets of the Maya Otherworld

Sacred Cenotes

Picture of a diver exploring a sacred Maya cenote--or underground, water-filled cave
A diver explores a cenote near the Maya ruins of Tulum.

Secrets of the Maya Otherworld

Ancient Maya believed that the rain god Chaak resided in caves and natural wells called cenotes. Maya farmers today in Mexico’s parched Yucatán still appeal to Chaak for the gift of rain. Meanwhile cenotes are giving archaeologists new insights into the sacred landscapes of the ancestral Maya.

Published: August 2013
 
By Alma Guillermoprieto
Photograph by Paul Nicklen
 
At the Xcaret theme park south of Cancún a mythic Maya lord of death mingles with tourists before a spectacular re-creation of ancient pilgrimages. The annual event—complete with canoe voyage—honors Ixchel, the goddess of fertility. Such ties to the past draw visitors to the Yucatán from the rest of Mexico and abroad.
On the edge of a small cornfield near the ruined Maya city of Chichén Itzá, in the sparse shade of a tropical tree, a voice ricochets wildly up the mouth of a well. “¡Lo vi! ¡Lo vi!” the shout proclaims. “I saw it, I saw it!” “¡Sí, es verdad! Yes, it’s true!”
Leaning over the mouth of the well, underwater archaeologist Guillermo de Anda needs to make sure that this is what he has been longing to hear for so many months. “What is true, Arturo?” And his fellow archaeologist Arturo Montero, floating down at the bottom of the well, yells up again, “The zenith light! It really works! Get down here!” Then he whoops ecstatically.
What de Anda has been waiting anxiously for his friend Montero to determine is whether the water at the bottom of this nondescript natural well, or cenote, had acted as a sacred sundial and timekeeper for the ancient Maya on the two days of the year, May 23 and July 19, when the sun reaches its zenith. At that moment it is vertically overhead, and no shadow is cast. The fact that the cenote is directly northwest of the main staircase of El Castillo, the famous central pyramid of Chichén Itzá, and within that mysterious city’s urban limits, made de Anda’s question particularly intriguing.
Centuries earlier, had Maya priests waited in this very well to observe and correct their measurements of the sun’s angle when it reached the zenith, as it does only in the tropics? Did they come here during times of drought to deliver anxious offerings and at other times to give thanks for a plentiful harvest? Did they believe this was a place where the sun and the generous waters met and brought forth life? These and other questions involving the Maya people’s relation to their gods, their sacred city, and their extraordinarily accurate calendar were what the two archaeologists were investigating.
De Anda, renowned for his skills as an underwater archaeologist, had been able to work in the Holtún cenote only occasionally and with minimal financing. Montero, from the University of Tepeyac, was at the well on his own money. He had been in the nearby city of Mérida on May 23, leading an archaeoastronomy seminar at the University of Yucatán, where de Anda was teaching. This morning, the day after the zenith, they were at last heading for the Holtún cenote. Their start had been disastrous—a flat tire, a shortage of gasoline, and sundry other hindrances had landed them at the well just as the sun was about to reach its near-zenith position. With minutes to go, Montero and Dante García Sedano, an undergraduate student, had struggled into their diving suits, clipped themselves into harnesses, and been lowered into the well by a crew of local Maya farmers.
Now Montero was yelling and whooping, and the farmers were lowering first a rubber raft and then me into the well. De Anda, drenched in sweat in the grilling Yucatán heat, was having a hard time with his rubbery suit. But finally he too was lowered 72 feet into the well, making the four of us in all likelihood the first persons in centuries to watch the path the sun god was tracing across these waters.
Beneath the narrow mouth of the cenote, the walls opened up to become a giant dome, cathedral-like except for the roots of trees grasping through the rock for the water. Focused by the small opening—shaped into a rectangle likely to mirror the four-cornered Maya cosmos—the shaft of sunlight danced like fire on the delicate frillery of surrounding stalactites. The edge of the water too seemed to ignite when it was hit by the light, and beneath the normally dark surface the waters turned a transparent turquoise blue. The sun’s rays came so close to vertical that Montero now knew that yesterday, at the zenith moment, a pillar of light would have plunged straight into the water. One didn’t have to be Maya to feel awe.
 
At the Xcaret theme park south of Cancún a mythic Maya lord of death mingles with tourists before a spectacular re-creation of ancient pilgrimages. The annual event—complete with canoe voyage—honors Ixchel, the goddess of fertility. Such ties to the past draw visitors to the Yucatán from the rest of Mexico and abroad.

A pyramid 90 feet tall and a platform adorned with a feathered serpent’s head testify to the former glory of Chichén Itzá, now a popular tourist destination. This once powerful city was built in about the ninth century, likely aligned with four sacred cenotes and with the sun’s seasonal movements.

During the past couple of decades archaeologists have begun paying close attention to the role of caves, the zenith sun, and now—through de Anda—cenotes, in the beliefs and world vision of the ancient Maya of Yucatán. Archaeologists had known that the Maya regarded both caves and cenotes as mouths that opened into an otherworld inhabited by Chaak, the god of life-giving rain, but the consequences of this fact for architecture and city planning have only recently started to become clear.
In 2010 de Anda, who by then had dived in scores of cenotes, began exploring Holtún at the invitation of Rafael Cobos, a recognized archaeologist and project director who has been busy investigating and mapping the hundreds of ancient structures, promontories, and wells in the Chichén Itzá region. De Anda also had the cooperation of the National Institute of Anthropology and History. Examining the walls of the pool a few yards below the surface, he emerged from a small hollow and felt a protrusion above his head. He was astonished to find that this natural rock shelf held an offering of a human skull, pottery, the skull of a dog, deer bones, and a two-edged knife probably used for sacrifices, all neatly placed there centuries earlier. His headlamp, pointed straight down at the cenote’s depths, revealed broken columns, a carved anthropomorphic jaguar, and a figure similar to one of the little stone men at Chichén Itzá’s Temple of the Warriors, sculpted to look as if they were holding up the sky. This well in the middle of a cornfield was clearly a sacred site.
Now, three years later, de Anda and Montero had discovered not only a connection between the zenith sun and Holtún but apparently also the role of that sun and the cenote in the siting and orientation of Chichén Itzá’s El Castillo pyramid. It was already known that at the spring equinox a snake of sunlight slithers down one side of the pyramid’s central staircase—a sight witnessed every year by thousands of tourists. Some walk the short distance to the famous Sacred Cenote, which, over the centuries that Chichén Itzá was a great city-state, received in its mouth any number of human beings and other precious offerings. Early on May 23, the zenith day, Montero had gone to the central pyramid and discovered that the sun, K’inich Ajaw, rises in line with the pyramid’s northeast corner. It then sets in line with the pyramid’s western staircase and the nondescript Holtún well.
The Maya, to calibrate their calendar, which is justly famous to this day, had to determine the days of the year when the sun shone exactly overhead, not one fraction of a degree lower or higher. Montero and de Anda speculated that Maya astronomers waited inside the Holtún well for those two zenith moments in the year when a vertical pillar of sunlight pierces the water without reflecting onto the dome.
For the Maya, astronomy was a sacred activity, as were architecture and city planning. De Anda and Montero now think that not just Holtún but other cenotes may have played an important role in determining where to site buildings. The Sacred Cenote lies north of El Castillo. Two other cenotes lie to its south and southeast. The Holtún cenote, directly northwest of the pyramid, may have completed the diamond configuration that allowed the Itzá people to determine where to build their sacred city and how to angle its main pyramid. If further studies corroborate all this, the most important coordinates of Chichén Itzá’s overarching design will snap into place.
Such at least is de Anda’s hope. But on this day he and Montero had already accomplished much. The sun drew up its spears of light and continued on its way across the face of the Earth, while in the renewed dark the two chattered excitedly about what they had seen and what it meant. “¡Un abrazo, hermano!” Montero exclaimed, and the two men surged toward each other in the water and flappingly embraced.
 

Pleading for rain for the village of Yaxuná a kneeling shaman chants prayers at a rectangular altar, which symbolizes the four-cornered shape of the Maya universe. During this age-old ceremony, men circle with offerings of food, while crouching boys imitate the sounds that frogs make when it rains.

Aboveground the crew of Maya farmers, in shorts and flip-flops, had to work hard to haul the explorers up again. Around us were rustling cornfields that had been waiting for the rain too long, but team master Luis Un Ken, a smiling man respected by everyone in his nearby village, is by nature an optimist. “There was a good rain the other day,” he said, patting the sweat off his face. “The Chaak moved.”
For men like Un Ken, the old gods are still very much alive, and Chaak, ruler of cenotes and caves, is among the most important gods of all. For the benefit of living things, he pours from the skies the water he keeps in earthenware jars in caves. Chaak is one and many: Each thunderclap is a separate Chaak in action, breaking a jar open and letting the rain fall. Each god inhabits a separate layer of reality, along with dozens of alternately complacent and ferocious gods that live in the 13 otherworlds above and the 9 otherworlds below. Together, they filled the Maya people’s lives with dreams, visions, and nightmares; a complicated calendar of agricultural times and fertility rituals; and a firm sense of the way things must be done. Chaak had moved, Un Ken said, and that meant the planting season would soon arrive.
Chaak’s absence can cause the Yucatán Maya untold disasters, tragedies properly understood only when one is standing on the hard, lunar surface of their former empire, an endless shelf of karstic rock, or limestone. Rain seeps straight through the karst to groundwater levels, and as a result no river or brook runs through the land. (Cenotes are actually sinkholes that extend to the water table.) From the air one sees a green sea of dense jungle. At ground level the tropical forest is thin—spindly trees whose stubborn roots are adapted to the pockets of soil that dot the karst. Wherever the soil hollows are large enough, Maya will plant corn or a milpa, a wise combination of the corn, beans, and squash that constitute their basic source of protein. But corn is a hungry crop; it sucks lots of nutrients from the soil. For thousands of years milpa farmers have kept their small fields productive by burning a different patch of trees every year and planting in the corn-friendly ashes. We call this deforestation, but to the Maya it means survival.
As for water for the fields … well, that’s where Chaak comes in. Only seasonal rains can make the corn grow, and they must arrive in an excruciatingly accurate pattern: no rain in winter, so that the fields and forest will be dry enough to burn by March; some rain in early May to soften up the soil for planting; then very gentle rain to allow the planted seeds to sprout and the young corn god to make his appearance in the shape of a barely formed corn ear; finally plenty of rain to send the cornstalks shooting skyward and fatten the kernels on the mature corn. At any point in the yearly cycle irregular rains mean a smaller ration of food for a family.
The unsolved archaeological question is why the great Yucatán Maya city-states collapsed one after another. The miracle is that they survived at all, fed by corn grown in such a harsh environment.
 
Archaeologist Guillermo de Anda descends into the Holtún cenote minutes before the moment on July 19 when the sun is directly overhead. When that occurs, twice a year, light falls vertically into the water. De Anda believes the ancient Maya built a structure at the surface that caught the rays the same way.
Hovering above the offering shelf in the Holtún cenote, de Anda surveys a pile of bones. “This work is about millimeters,” says photographer Paul Nicklen. “You’re right above remains that haven’t been moved in centuries, so you have to have impeccable diving skills.”
 
Yet they did survive—and prospered too—sometimes reaping a plentiful harvest and sometimes, as Guillermo de Anda believes happened at the Holtún well, placing offerings inside a cenote during a prolonged drought, when the water table could sink by 20 feet. With a population estimated in the millions a thousand years ago, the northern Maya built so many cities—in the dry north, always next to a life-giving cenote—that one starts to think the Yucatán forest is an archaeologist’s do-it-yourself: Anyone can trip over an untouched ruin. In fact a couple of days after the Yucatán zenith day, I was trudging down a path between milpas and forest a few miles from Chichén Itzá with archaeologist and cave explorer Donald Slater, when he nodded toward our right and said, “There it is.” There what was? I looked around and saw cornfields to our left and forest to our right. “There,” Slater insisted. Just skinny trees, and behind those, more trees. Then what looked like a blurry thickening of the forest about 50 yards off the path turned out to be a steeply pitched hill. Of course there are no steep hills anywhere in the neighborhood. But there are pyramids. This was a particularly tall one, and directly facing its southwest corner was a very big cave.
To the Maya the cave would have been a mouth, the gaping jaws of a devouring Earth deity or one of the dwelling places of Chaak. Slater was hoping to document his claim that this cave was a sacred observation point from which to greet the arrival of the sun on its zenith day and that this pyramid—which has been known about but never fully explored—was built or at least oriented specifically in relation to the cave.
Before our visit Slater had asked a crew of Maya farmers to clear the jungle growth covering the structure’s western face so that the zenith sun’s track could be observed more clearly. At the cave’s lip Slater pointed out the remains of a set of stairs rough-hewed centuries before, perhaps to give shamans access to this terrifying maw of the Earth. Slater speculates that the solar priests would have spent the night before the zenith sun fasting, dancing, and chanting to the sound of drums and double-chambered clay flutes like those he found deep inside the cave, praising the sun god for bringing the zenith day around once more, and with it, the rains.
As we stood where the holy men once might have, the entire pyramid loomed before us. We waited. At 8:07 a.m. a fat, orange globe bobbled up behind the pyramid, appeared to pause for a second or two, and then displayed itself in blinding glory as it cleared the top, filling our cave with its fiery light. Centuries ago on the two zenith days, Slater explained, it would have performed its bobble dance on what are now the ruins of a platform on the top southwest corner of the structure.
To the sky-gazing Maya, the pyramids in the Yucatán, others of which were aligned with the rising and setting suns of equinox and zenith days, would have seemed not landbound piles of stone but cosmic timekeepers—upward-yearning structures in constant interaction with the heavens. And the interaction of K’inich Ajaw, the sun, and the sacred waters of Chaak was the dance of life that made the cornfields possible.
 
Guide Angel Canul is the last man out of Las Cala­veras cave, having made sure every tourist has emerged safely at the entrance some 60 feet above the water. Many people stop for a swim when visiting the nearby pyramid at Cobá.
In the once sacred waters of a cenote Karla and Justin Petraitis pose for photos after a wedding ceremony infused with Maya and New Age themes. The event was only symbolic, so the couple had married back home in Tennessee before­hand. Their wedding planner arranges a dozen such celebrations a year.
I was on my own modest search for Chaak. Roaming the Yucatán Peninsula, I was looking for rituals and beliefs held by modern Maya that might help me understand their link to their glorious ancestors. Most Maya today live in poor farming communities, and Chaak, who remains so important to them, is celebrated seasonally in an extended rain-calling prayer known as a Cha Chaak.
Some 80 miles southeast of Chichén Itzá, approaching the area now known by the misleading, if glamorous, name of the Maya Riviera, lies the village of Chunpón. It is part of a government-designated Zona Maya that covers a sizable portion of the Yucatán Peninsula. I visited Chunpón in the company of a man named Pastor Caamal. During work hours he is a proudly independent tour guide, and like many of his neighbors and Luis Un Ken, he is a Cruzoob, or believer in the Talking Cross, a relic from the 19th-century uprising known as the Caste War. A descendant of Maya warriors who fought government troops, he still does round-the-clock guard duty at the cross’s sacred garrison two weeks out of every year.
“The Cruzoob are basically the Maya who survived,” Caamal said to me on a summer afternoon as we zipped down a flat highway in the Zona Maya toward his hometown. That was something of an exaggeration: The Caste War was a strictly local affair, and there are approximately five million Maya living in an area that encompasses the lower third of Mexico, as well as most of Belize and Guatemala, western Honduras, and western El Salvador. But it is true that in the Yucatán, the war touched nearly every village.
I asked Caamal how he bridged the difference between the old Maya gods and Jesus Christ, whom the Maya frequently invoke, sometimes calling him Our Lord Most Holy Cross Three Persons. “We are polytheists,” Caamal answered. Strikingly, there is virtually no Catholic presence in the zona; instead there are hmem—shamans, healers, and enchanters who usually discover their vocation in dreams, then mediate between the gods and their needy worshippers.
In answer to my increasingly desperate queries about where I might be able to witness a Cha Chaak rain ritual, Caamal said his own hmem might know of a Cha Chaak coming up somewhere, although it was late in the season.
In the bruising heat of midday we made a brief stop in Chunpón at Caamal’s family compound. In the oval kitchen hut was strung a row of hammocks, each cradling a Caamal relative who lay chatting and rocking gently. It would have been cooler without the hearth—three large stones on the dirt floor with embers glowing beneath a large iron griddle—but the kitchen embers are always stoked. Caamal’s fierce, tiny mother glared at me, a “Spanish,” or non-Maya, visitor, but she made some tortillas, offering them with meat and chilies. Later she would pointedly ask her son when I was planning to get out of her hammock and leave, but the rules of hospitality, as set as the movement of the stars, dictated that food be offered.
Back on the road, we saw slender trees shooting up from the bone-white, bone-hard surface of the karst. We stopped at the village of Chun-Yah, which, like many in the Zona Maya, has no land or cellular phone communication with the outside world and only rudimentary schools. In his own dusty compound of oval thatched-roof huts, Caamal’s mentor and hmem, Mariano Pacheco Caamal, greeted me with a broad smile.
 
The Pech’ Puc family first stirs at 5:30 a.m. Thirteen people live in this thatched-roof adobe house, located in a village of farmers who grow the crops of their ancestors: corn, beans, and squash. The state, Quintana Roo, earned ten billion dollars from tourism last year, but little of that has trickled down to the smallest Maya communities.
 
Don Mariano said he knew how to use 40 different kinds of plants to cure illnesses and heal fractures and snakebites. At a particularly fragile time for Pastor, Don Mariano had built a protective ring of invisible fire around his friend. In dreams he had learned what to ask each god and on which day of the week. He knew where to find the sacred caves.
Don Mariano wore cutoffs and flip-flops and seemed to have remarkably few possessions for a man of his age and prestige. He spoke only elementary Spanish, and because my Mayan is nonexistent, Pastor had to translate my questions a few different ways to get the meaning across. I asked Don Mariano how he knew he was Maya. The mild-mannered hmem blinked behind his thick glasses. “Because we are poor,” he said. I asked again. “Because of what we eat, our skin color, our height,” came the reply, and then he thought of a better answer. “Because here there are no factories, machines, smoke. At night we have peacefulness, silence. In the morning I say, Today I will do this or that. Our work is our own. When one works for outsiders, they say, Give me your time. But Maya are their own rulers.”
Did he know of a Cha Chaak coming up? Alas, Don Mariano could only confirm that I was late. In Chun-Yah as elsewhere, the time for planting and rain invoking had already passed. Then he graciously explained how a Cha Chaak offering is set up in his small part of the Maya universe. A rectangular altar, or offering table, about three feet wide and made of saplings and a few boards, represents the world. The various foods for Chaak are placed on it in a strict order, along with half-gourd cups of a sacred fermented drink, balché, made from tree bark, and gourds filled with holy water taken from a hidden cenote or cave. The special food offering consists of 13 loaves of “bread,” thick tortillas made of 13 layers of masa, or corn dough, representing the 13 layers of the otherworld above. The bread is wrapped in leaves of bakaalché, a local vine, and baked in a coffin-size pit, or pib, dug out near the altar. A cross is placed at the center back of the table to oversee the whole.
I ventured that I had heard about sapitos, small boys who crouch at the base of the altar table and encourage Chaak to arrive by imitating the call of frogs during the rainy season. Pastor and the hmem looked at each other and smiled.
“You heard about that [near Chichén Itzá], right?” Pastor said. He imitated the boys imitating the frogs: “They go lek lek lek.” He smiled again. “Muy bonita costumbre. A very pretty custom.” He grinned. “We don’t do that here.”
In Yaxuná, a little town in the middle of the peninsula—on yet another parchingly hot morning, the rains overdue, not a cloud in sight—where a late season ceremony was being held for the laggard Chaak, they most certainly do. Yaxuná is some 12 miles south of Chichén Itzá, and in this part of Yucatán many people still depend on milpa, making them the anxious subjects of Chaak.

The ceremony in Yaxuná had almost ended by the time I caught up with it. For going on two days rain-desperate villagers and their hmem had toiled without rest or sleep to persuade Chaak to come to them. They had walked a long way through the forest to a secret cave and scrabbled down to its center on a scary rope system to bring up the water the ceremony required. They had raised the altar, dug the pib, gone to enormous expense to provide 13 fat hens for the ritual meal, guarded the altar overnight while praying and drinking balché, patted out the stacks of 13-layer corn-and-squash-seed breads that no women had been allowed to touch, cooked them in the pib, and brought them out of their fiery bed again, leaving the pit open so that the steam could rise directly to the rain god as an offering.
And now the hmem, Hipólito Puuc Tamay, a slow-moving, leathery man in a red baseball cap and much washed shirt, was standing in front of the altar praying to Chaak, to Jesus Christ, to all the saints, to San Juan Bautista, to the forces of the Earth and sky, and to Chaak again, to let the holy blessing of rain fall on them and on all the surrounding Maya communities so that they might survive one more full cycle of the sun. On instructions from the hmem, one of the villagers crouched on a rock behind and to one side of the altar, keeping very still, only blowing from time to time into one of the gourds in which Chaak stores the wind. He was just one of the neighbors, but he was also the rain god, and he sat with his eyes closed so as not to harm the ceremony with his terrible glance. Two other participants brought him to the altar, facing backward, to receive the hmem’s neutralizing blessing.
And there the little frogs were too, five slightly abashed boys crouching at the foot of the world altar, one boy at each corner and one at the center, four of them saying, hmaa, hmaa, hmaa, and the fifth, lek lek lek lek lek, a blended sound remarkably like that of frogs in the evening rain.
Out of nowhere a wind came up in the clearing. Thunder rolled in the blue distance.
As the ceremonial meal of chicken and the corn-and-seed bread was being distributed to the exhausted men, the rain started—a light, refreshing summer shower. A sign, the hmem said, that Chaak had received his offering and was pleased with his people’s prayer. Soon, perhaps, the Earth would be ready for planting.
 
A snorkeling tourist floats in a cenote called Las Calaveras—“the skulls”—near Tulum. Local Maya got their drinking water here until about 30 years ago, when divers found bones. Archaeologists have recorded the remains of more than a hundred people, usually shrouded by the water’s primordial darkness.
 
 
Alma Guillermoprieto, a frequent contributor, won an Overseas Press Club award for her May 2010 story on Mexico’s new saints. Photographer Paul Nicklen underwent extensive cave-diving training for this story. Shaul Schwarz traced Maya culture in the Yucatán above water.

Society Grant This research was funded in part by your National Geographic Society membership.