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Vo l u m e 1

ARGUS: V o l u m e 1

9 780980 700855

ARGUS Volume 1

FIRST PUBLISHED 2011 PUBLISHER Finesse Press. PO Box 1158, Byron Bay, NSW 2481 National Library of Australia Cataloguing-in-Publication data Faulkner, Heather, 1967– Picone, Jack, 1958– ARGUS: Volume 1 ISBN 978-0-9807008-5-5 © Finesse Press 2011 This book is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act 1968, no part may be reproduced by any process without written permission. Enquiries should be made to the Manager, Finesse Press, PO Box 1158, Byron Bay, NSW 2481. Copying for educational purposes The Australian Copyright Act 1968 (‘Act’) allows a maximum of one chapter or 10 per cent of this book, whichever is the greater, to be copied by an educational institution for educational purposes provided that the educational institution (or the body that administers it) has given a renumeration notice to Copyright Agency Limited (‘CAL’) under the Act.

EXECUTIVE EDITORS Heather Faulkner, Jack Picone ASSOCIATE EDITOR Margaret Waller MANAGING EDITOR Sophie Baker CONTRIBUTING EDITORS Katie Fergus Shuo Huang Ziyu Liu Grant Scott Jacqueline Stewart. COVER IMAGE Kathmandu Temple by Nicolas Rakotopare DESIGN ARGUS Collective DESIGN CONSULTANT Luisa Di Girolamo

Details of the CAL licence for educational institutions are available from CAL, 15/233 Castlereagh Street, Sydney, NSW 2000, telephone: 1800 066 844, facsimile: (02) 9394 7601, e-mail: The information contained in this book is to the best of the author’s and publisher’s knowledge true and correct. Every effort has been made to ensure its accuracy, but the author and publisher do not accept responsibility for any loss, injury or damage arising from such information.











Marianne McDade



Jerad Williams & Dale de la Ray

Heather Faulkner Margaret Waller Sophie Baker Collective


Dale de la Ray


Katie Garvan







Nicolette Johnson & Joe Ruckli

Sitthixay Ditthavong

Kannagi Bhatt


Nicolas Rakotopare Victor Wu Ashley Schumann

FOREWORD My grandmother grew up on a leased homestead on Blackfoot land in southern Alberta, Canada. In my childhood she told us this pre-depression-era story: The homestead had just acquired a telephone, and so the chief of the Blackfoot nation had come to XEOILMW½VWXXIPITLSRIGEPP°JVSQLMWFVSXLIV 1]KVERHQSXLIV (then just a child) watched as this great man took the receiver, listened and then closed his eyes for the duration of the conversation. This new marvel of communication, this extension SJ XLIIEV [EWHMJ½GYPXXSGSQTVILIRH±;LIVI² WEMHXLI GLMIJ was his brother? This strange new experience of talking to a disembodied voice so shook his concept of what was real, that he had to close his eyes and imagine his brother in his mind. Only then could he speak with his brother. This is where it began for the chief, and by extension, for my grandmother. The telephone had, as Canadian media visionary Marshall McLuhan described it, become an extension of the ear. A few decades later and television had extended our eyes. -R 9RHIVWXERHMRK 1IHME 1G0YLER [VSXI ±XSHE] EJXIV QSVI than a century of electric technology, we have extended our central nervous system in a global embrace, abolishing both space ERH XMQI EW JEV EW SYV TPERIX MW GSRGIVRIH²1 That was written in 1964. By the mid-seventies, McLuhan’s theories were not so much debunked as dismissed. In the 21st century, he has been VIMRXIVTVIXIHERHIQFVEGIHERI[°XLITVSHMKEPWSRVIXYVRIH ;LIR [I ½VWX PEYRGLIH XLI%6+97 SRPMRI MR IEVP]  MX was with the intention that we would adapt over a century of traditional photojournalistic practice to the new possibilities of digital online interactive storytelling, extending the reach of our I]IWERHIEVW;I[IVIHIXIVQMRIHXSFIEQSRKWXXLI½VWXXS 6

chart and navigate this new landscape of engaging storytelling. As broadband and data capacities increased, our editors and contributors wholly embraced the potential for interactive audio narratives and the relatively new ability to publish video online. Since those early days, this hybrid of visual storytelling has now become a mainstay of modern photojournalism around the globe. In this new landscape of convergence culture, everything is virtually instantaneous. A recent example: Online in Australia, we experienced raw videos of a deposed dictator as he was dragged out of hiding in a storm drain and, violently, murdered en-route XS 1MWVEXE 4SWXIH SRPMRI [MXLMR QMRYXIW SJ +EHHE½´W HMWGSZIV] ERHIZIRXYEPQYVHIV XLIWI ZMHISWF] 0MF]ER±GMXM^IR NSYVREPMWXW² have been viewed by millions around the globe. The traditional media outlets had no choice but to use this footage, over and SZIVEKEMRYRXMPMXGSYPHF]MXWS[RQIERWGSR½VQXLMWWXVIEQSJ visual information. ;LEXXLMWIZIRXERH[LEXIZIV]GMXM^IRTSWXIHZMWYEPTVSZIH° JVSQMQEKIWSJLSVVM½GXSVXYVIEKEMRWXWYWTIGXIH-VEUMXIVVSVMWXW by US captors in Abu Ghraib, to a video still of a dying Neda Agha-Soltan in the streets of Tehran, to the death of Formula 3RI HVMZIV (ER;LIPHSR°MW XLEX ER]SRI GER FI E NSYVREPMWX In fact, in 2010, World Press Photo made a special mention of the anonymously posted still from a video of Neda Agha-Soltan. 7XEXMRKXLEXXLIMQEKILEH±TPE]IHERIWWIRXMEPVSPIMRXLIRI[W reporting of the year worldwide and could not have been made F] E TVSJIWWMSREP TLSXSKVETLIV²2 the 2010 World Press Photo jury tipped its hat in recognition of the burgeoning contribution GMXM^IRNSYVREPMWXW ZMEXLIRI[JVSRXMIVSJXLI-RXIVRIX LEHQEHI to historical documentation.

-R 1G0YLER´W HE] E TPIXLSVE SJ TMGXYVI QEKE^MRI XMXPIW SJJIVIH ZEV]MRKHIKVIIWSJVI¾IGXMZIIRKEKIQIRX -RSYVXMQI XLITMGXYVI QEKE^MRIRSPSRKIVI\MWXW WEZIJSVEJI[±WTIGMEP²IHMXMSRWWYGLEW XLI8MQI;EVRIV0MJIQEKE^MRI  -RSYVXMQIWLSVXVYWLXSFIXLI ½VWXXSVITSVX[IEVIPSWMRKXLIKMJXSJGVMXMGEPEREP]WMWXLEXXVEHMXMSREP print media afforded us. Amidst this burgeoning culture of instant ERHMRWMWXIRXMRJSVQEXMSR[IEVIQIX[MXLXLITY^^PIXLEXFIJIPPXLI grand chief nearly a hundred years ago. How do we know that what we are hearing and seeing is real? I believe that trained, professional journalists armed with a strong ethical and moral compass, will not FIQEHIVIHYRHERXF]XLMWRI[[EZISJMQQIHMEXIERHJVIIGMXM^IR journalism. I believe that out of this rush into the new frontier, will eventually emerge new paradigms of engaging storytelling. I believe that there will be a function and purpose for critical analysis. And we EVIRIZIVWLSVXSRXMQIJSVVI¾IGXMSR -RXLIGSYVWISJJSYV]IEVW XLI%6+97LEWTYFPMWLIHHS^IRWSJ JIEXYVIWXSVMIWSRPMRI-RTVSHYGMRKXLMW½VWXTVMRXGSPPIGXMSRIHMXSVW [SVOIHXMVIPIWWP]XS½RHXLIFIWXSJXLIWISRPMRIWXSVMIWERHXVERWPEXI XLIQJSVXLISPH±LSX²QIHMYQ°XSQEOIXLIFSSOERI\XIRWMSR SJXLII]I-X´WQIERXEWEHMEPIGXMGVI¾IGXMSRSRXLIWIZMFVERXZMWYEP stories from our new century. And, as one editor put it, we made a FSSOFIGEYWI±MX´WVIEP² Heather Faulkner, Executive Editor 1. McLuhan M 1964, Understanding Media, Mentor, New York. Page 3. 2. Jury Appoints a Special Mention.Retrieved November 12,2011 from


ESSAY Photojournalism: feeding the imagination Let me begin with a generalisation. Most people have a very fundamental desire to tell, to see, to listen to and read stories. Photojournalists are visual story-tellers. We seek out stories that document the lived experience of people like us and equally, those people who are very different to us. We look for stories about home, relationships, the environment, work and play of people in familiar and foreign settings. Why is the telling of stories through photographs and text so important? Images and text help create meaning. The viewer looks at images to see what a scene and people looked like. A strong dramatic image will tell more than an un-composed record MQEKI7MKRM½GERXP]WXVSRKMQEKIWGERXIPPLS[MXJIPXXSFIXLIVIXS receptive empathetic viewers. To extract more information, the ‘how’ and ‘why’ of a scene, its aetiology, the viewer may then turn to text. Thus, the viewer can ½RH QIERMRK XLVSYKL ER IRKEKIQIRX [MXL MQEKIWXI\X XLEX LEW both empathetic and aetiological dimensions. With meaning comes understanding. To better understand ourselves and also people different to us, is to cultivate our humanity, a truly ethical enterprise. One powerful voice in this enterprise is Martha Nussbaum (1997). She writes, of three capacities we can consider to cultivate humanity,


8LI½VWXMWXLIGETEGMX]JSVGVMXMGEPWIPJI\EQMREXMSRERHGVMXMGEP thinking about one’s own culture and traditions. The second is the capacity to see oneself as a human being who is bound to all humans with ties of concern. The third is the capacity for narrative MQEKMREXMSR°XLI EFMPMX] XS IQTEXLM^I [MXL SXLIVW ERH XS TYX oneself in another’s place. -RWMHI XLI%6+97 EPP XLVII GETEGMXMIW EVI VIEPMWIH8LI ½VWX E GVMXMGEPGETEGMX]JSVWIPJI\EQMREXMSRMWVMGLP]I\TPSVIHMRXLI½VWX essay, ‘The Summer of Sorrow’. As a Queensland publication, it is ½XXMRKXSFIKMREXLSQI[MXLMQEKIWJVSQHMJJIVIRXTLSXSKVETLIVW GSZIVMRKXLIWXEXI[MHI¾SSHWMR.ERYEV]8LIWIMQEKIWWLS[ XLII\XIRXSJXLI¾SSHWERHXLIRLS[EGSQQYRMX]QSFMPMWIHXS assist those affected. Compare this heroic view of ourselves with the gothic ordinariness of lives marked in two essays on residents of an outback town, Lightning Ridge by Nicolette Johnson and Joe Ruckli, and by Sitthixay Ditthavong.These essays illustrate a profound remoteness that breeds eccentrics and neglected individuals. The critical Australian-ness of this publication is also seen in Katie +EVZER´W XIRHIV WXSV] SJ XLI +SPH 'SEWX HERGIV±/MQFIVP]² XLI LSRSVM½GJEVI[IPP±8LI*MREP0ET²MRXLI0EWX2MOSR-RH]GEVVEPP] in 2008 told by Dale de la Rey and Jerad Williams. Away from the chaos and speed of street life and fast cars, there is a still clarity to a collection of images by Ashley Schumann. In this series, Schumann looks at the equalising power of scars, it’s a series showing a depth of emotion from stoicism, humour and, of course, loss.

The second capacity outlined by Nussbaum, is the capacity to see oneself as a human being with shared concerns. Here Schumann’s essay also achieves this because to scar is to be human. In a way, Cricket is used as a device to link people across cultures. Indian cricket looks much like cricket anywhere with some thoughtful additions in the frame by photographer de la Rey to make these MQEKIW VI¾IGX XLI WYFGSRXMRIRX %R SVTLEREKI MR 'EQFSHME HSGYQIRXIH F] ITLSXSNSYVREPMWX:MGXSV;Y MR LMW IWWE]±,STI² brings to the viewer’s attention the faces and therefore identity to children whose lives are very different from our own. Finally, the third capacity is the ability to empathise with others different from us. Again Wu’s children are engaging the viewer face-to-face and through their activites. Walking the streets of Kathmandu with Nicolas Rakotopare, the viewer is transported to another place certainly, but also to what seems another century as well, and yet selling goods and drinking tea looks completely familiar. In Italy, another century is brought back into life with Marianne 1G(EHI´WGSZIVEKISJE±2MKLXSJ*MVIW²8LIZMI[IV´WMQEKMREXMSR is transported as if in a movie. 8LI UYIWXMSR ±LS[ FIWX GER [I XVEMR JSV [SVPH GMXM^IRWLMT² probably requires a lifetime to address but thoughtful engagement with this publication is a useful contribution along the way. Enjoy! Margaret Waller, Associate Editor


INTRODUCTION In an age that is heavily saturated with global news, where the world can watch a tsunami inundate a foreign country live, and victim’s of traumatic events can ‘tweet’ about their circumstance instantly, there is a beauty and a power that is still bestowed within XLI ½IPH SJ TLSXSNSYVREPMWQ ;MXL XMQI MRWMKLX ERH ZMWYEP WOMPP TLSXSNSYVREPMWQTVIWIRXWXSYWEHIITIVMRWMKLXMRXSSYV[SVPH photojournalism seeks to unveil that to which the world is blind. What a powerful experience it has been to work as an editor on board the ARGUS. With photography in the 21st century WS ZEWXP] EGGIWWMFPI ERH XLI MRXVSHYGXMSR SJ GMXM^IR NSYVREPMWQ studying photojournalism has never been so important in order to keep on top of the industry. Those who are privileged enough to have done so have a wonderful leg-up on those who have not. Being trained to ‘see’ what others do not, being trained to capture what others cannot and being trained to investigate what others do not care about, differentiates us from reactionary and SJXIRYREGGSYRXEFPIGMXM^IRNSYVREPMWQ7XYH]MRKTLSXSNSYVREPMWQ challenges your thought processes and enables you to see the world in totally different ways, which in turn changes the way you TLSXSKVETL°FIGSQMRK QSVI VI¾IGXMZI MR XLI [E] ]SY [SVO allowing you to bring justice to the stories and the people within them. Over the past four years, the ARGUS has presented stories from all over the world to an international community. From large-scale international event to small local stories that pluck the LIEVXWXVMRKWPSGEPP]ERHKPSFEPP]XLI%6+97LEWTVSYHP]VITSVXIH from the front-line.


Right from its humble beginnings, the ARGUS editorial collective has been on-edge with modern reportage. Now, in this book, we present you with a tightly edited and thoughtful survey from our ½VWXJSYV]IEVWSJTYFPMWLMRK Sophie Baker, Manager Editor

ABOUT THE ARGUS The ARGUS is a digital portal to photojournalism, founded by Queensland College of Art, Griffth University (Gold Coast), staff ERHWXYHIRXWMR8LIQYPXMQIHMETLSXSNSYVREPMWQQEKE^MRI is updated monthly with photographic essays, series and singles, forging the new wave of Australian photojournalism. As a Queensland College of Art initiative, editorial and TYFPMGEXMSRVSPIWEVIQIXF]ERERRYEP他Y\SJRI[WXYHIRXW;MXLE photographic focus from contributors and editors alike, the team works alongside renowned photojournalists in executive editor roles, to ensure a rich visual insight to global affairs. In ancient Greek mythology, ARGUS was a watchman with one hundred eyes, even as he slept, his eyes stayed alert to the world around him.



Between December 2010 and January 2011, the Queensland ¾SSHWQEHILIEHPMRIWEVSYRHXLI[SVPHEWEXVEKIH]ERHEREXYVEP disaster of epic proportions. Thirty-seven Queenslanders lost their lives and thousands more suffered destruction and despair. Floodwaters ripped through Toowoomba, Lockyer Valley, Grantham and Murphys Creek in what came to be known as an ±MRPERHXWYREQM²PIEZMRKEXVEMPSJHIEXLERHHIZEWXEXMSRMRMXW[EOI -R &VMWFERI XLSYKL ¾SSH PIZIPW JIPP WPMKLXP] WLSVX SJ XLSWI experienced in 1974, the devastation was arguably larger, with many MRYRHEXIHWYFYVFWP]MRKSRTVIZMSYWP]YRHIZIPSTIH¾SSHTPEMRW 12

True Australian spirit was on display during the clean up and immediate recovery period. Brisbane communities were overwhelmed by help and volunteers with more than 900,000 individual donations made to the Premier’s Disaster Relief Appeal. An inquiry, commissioned by Premier Anna Bligh into the series SJ ¾SSH IZIRXW [LMGL HIZEWXEXIH 5YIIRWPERH [MPP VIPIEWI MXW GSQTPIXI½RHMRKWMRE½REPVITSVXHYISYX.ERYEV]

A marker in Southbank is surrounded by 他SSH[EXIVWEWXLI&VMWFERI6MZIVLMXWMXW peak. Photo: Tom Whelan/ARGUS


An on-looker inspects a pontoon wrapped around the Goodwill Bridge. Photo: Lachlan Gardiner/ARGUS




A West End resident is helped back to his home to save some belongings. Photo: Brett Ramsay/ARGUS 17





RIGHT: It takes several men to haul a waterlogged carpet onto a truck. Photo: Scott Howes/ARGUS FOLLOWING PAGE: A shipping container, left resting against the Brisbane Markets sign, indicates XLII\XVIQITS[IVSJXLI他SSH[EXIVW 4LSXS/EXMI*IVKYW%6+97


±8LIWYQQIVSJWSVVS[MWRS[TEVXSJSYVLMWXSV] but these events must inform our future. We owe it to those who died and those who WYJJIVIHXSPIEVRXLIPIWWSRWSJPEWXWYQQIV² Queensland Premier Anna Bligh








Working together, a member of the Queensland Fire and Rescue 7IVZMGIERHE他SSHZSPYRXIIVLSWIQYHJVSQXLI[EPPWSJER Oxley home. Photo: Scott Howes/ARGUS


NIGHT OF FIRE Story and Photos by Marianne McDade

)ZIV]]IEVSR*IFVYEV]XLIWQEPP-XEPMERXS[RSJ8EKKMEMW½PPIH [MXL½VI8LIXVEHMXMSRFIKERMRXLIXLGIRXYV][LIRXLIEFWIRGI of government left coastal villages open to attack from pirates. The TMVEXIW XIVVSVM^IH ZMPPEKIVW OMPPMRK ERH TPYRHIVMRK EW XLI] WIX XLI towns alight before moving on to the next town. As legend has it, when news reached Taggia of another devastating EXXEGO EPSGEPGLEVEGXIVWYKKIWXIHERI[WXVEXIK]ERHWIX½VIXS XLIZMPPEKI7IIMRKXLI¾EQIWXLIETTVSEGLMRKTMVEXIWFIPMIZIHXLI village had already been raided and passed by leaving it unharmed. Every year since, the Taggese have celebrated this victory with a huge party. Lights are switched off and the darkened city turns KSPH[MXLXLIPMKLXJVSQQEWWMZIFSR½VIWWIXXLVSYKLSYXXLIXS[R There is music and wine aplenty and crowds weave through the narrow streets, following musicians who drift from level to level of XLIWTMVEPIHGMX]SRI½VIXSXLIRI\X 30

8LIVIEPI\GMXIQIRXLS[IZIV GERFIJSYRHMRXLIPEVKIVTPE^EW [LIVI PSGEP FVEZEHSW TVSZI XLIMV GSYVEKI ERH WOMPP F] ½VMRK handmade rockets into the sky. The sporadic explosions light up the night and shower the streets with stars. The stores of rockets take months to accumulate and one can never be sure whether they are going to be successful or RSX 3R½VWXMKRMXMSR XLIVSGOIXIQMXWERSVERKI¾EQI[LMPWXXLI holder and spectators wait with baited breath until white sparks ETTIEV°EWYVIWMKRSJWYGGIWWERHWEJIX] 8LIJIWXMZEPSJ½VIMWW]QFSPMGSJGPIERWMRKERHTYVM½GEXMSRERH is held in honour of the town’s patron saint San Benedetto, the legendary character whose cunning idea saved the village.


ABOVE: One of the very few women who risk a turn at the sport. PREVIOUS PAGE: Originally made from bamboo that would compensate by splitting in case of an explosion, the modern, plasting piping offers no such give. *MVI[SVOWJVIUYIRXP]I\TPSHIMRELSPHIV´WLERHERHSGGEWWMSREPP]WLSSX½VIFEPPWMRXSXLIGVS[HW,IVIXLILSPHIV[EMXWLIEHHS[R[MXLETTVILIRWMSRJSVXLIKSPHXSXYVR[LMXI 32



*MVIMWEW]QFSPJSVTYVM½GEXMSRERH renewal, a chance for Taggia to rise again from the ashes.


THE FINAL LAP Photos by Dale de la Rey and Jerad Williams

On October 26th 2008 Surfers Paradise said goodbye to the Nikon Indy 300 as the iconic Indy cars roared through the Gold Coast streets for the last time.


8LI -RH]'EV WIVMIW [EW ½VWX LIPH EW ER ERRYEP IZIRX MR  As an event of international proportions, people from all over the globe converged on the Gold Coast to watch the Indy cars ž] XLVSYKL XLI REVVS[ WXVIIXW8LI  OMPSQIXVI XVEGO GEVZIH through the heart of Surfers Paradise, was as challenging to drivers as it was enticing.

The V8 Supercar round, which was previously a side show to the Nikon Indy 300, has now become the main attraction.


#9 Scott Dixon drives the Target Chip Ganassi Dallara Honda. Photo: Dale de la Rey/ARGUS. 37



#8 Will Power of Team Australia Dallara Honda leads into turn one. Photo: Dale de la Rey/ARGUS. 40

ABOVE:V8 SuperCar driver Craig Lowndes leads Lee Holdsworth through the Bartercard Esses. Photo: Jerad Williams. 41


A SIMPLE LIFE Story and Photos by Nicolette Johnson and Joe Ruckli

I met Alan Hillier today. He lives in a caravan park in Lightning Ridge, a small Australian mining town and the world’s richest source of FPEGOSTEP ,IMWWM\X]WIZIR]IEVWSPHERHEPPXLEXLILEW½XWMRXS two suitcases. Alan’s life isn’t the romanticised existence he thought it would be. He places himself in the shadows of the community, amongst those who are now old and weathered by the harsh rural environment. As we spoke, the caravan was empty and quiet.The neighbouring caravans sat close together but not close enough for people to touch. I felt guilty when he offered his last beer. I couldn’t help but think that people who have so little give so much. What is obvious is that his dreams have been lost, his power has dissipated, and his life has been reduced to invisibility in a rented caravan. I wanted to make Alan visible. 44




I met Victor Borkovic today. He came to Lightning Ridge in 1965 for a visit and never left. A very proud man, he tells me stories about Serbia as I sit in his living room chair sipping on a glass of the plum infused brandy he poured for me. Serbia is everywhere in the house. Even the delicate crystal glass that holds my brandy is from the city where he was born. When LIXEPOWEFSYXLMWSPHLSQILMWI]IW½PP[MXLXIEVW FYXLMWTVMHI is palpable as he describes the success he has found in Lightning Ridge. He met his wife Dobrila in the famous bore baths, and ran a tourist attraction he called the Drive In Mine, which has since closed down. He talks of the past with a kind of urgency, like he QMWWIW FIMRK XLI QER XLEX TISTPI ¾SGOIH XS JSV E TMIGI SJ XLI Ridge. - EWOIH (SFVMPE MJ WLI PMOIH 0MKLXRMRK 6MHKI 7LI VITPMIH ±=IW I\GITXJSV]SYORS[KIXXMRKSPH² 48




BUT I NEVER HAD THE CHANCE TO LEAVE Story and Photos by Sitthixay Ditthavong

The fortunes of many residents of Lightning Ridge in NorthWestern New South Wales depend on the success of the town’s STEPQMRMRKSTIVEXMSRW%WXLIKPSFEP½RERGMEPGVMWMWWXM¾IHHIQERH from the opal-buying market, the potential reward for opal mining diminished greatly. Consequently, so did the number of full-time opal miners. My work has focused on those with a limited ability to dictate their own fortunes. The value of a lamb’s life is forfeited when a driver makes no concession to their speed. Young girls, already battling the comparatively fewer opportunities afforded by small town living, spend a disproportionate amount of their time procuring and smoking cannabis. With little to look forward to, some of these teenagers engage in serious acts of self-harm. &]VI¾IGXMRKSRXLIHMWIQTS[IVQIRXSJMRHMZMHYEPWPMZMRKEXXLI economic periphery of Lightning Ridge, the images draw quiet attention to the hidden social costs of living outside the sphere of MR¾YIRGIMRLMKLVMWOLMKLVI[EVHWSGMIXMIW 52


ABOVE: A teenage girl from Lightning Ridge smokes a cigarette whilst her friends smoke cannabis in a camp house. She readily admits that the scars on her forearm are from serious but ultimately unsuccessful attempts at taking her own life. PREVIOUS PAGE: After walking a forty minute round trip to secure cannabis from their dealer, a group of teenage girls gather in a camp house to smoke the drug. They admit that it is an almost daily practice for them, and cite boredom as one of the main motivating factors for their habit. 54





191&%-8)6636%88%'/%2-27-()033/ 4LSXSWF]/ERREKM&LEXX

“My friends were like, ‘don’t come,’ but this was huge and it was happening in my city, and I felt like I needed to be there”. On the 26th of November 2008, ten Pakistan based members of XLI0EWLOEVI8EMFE8IVVSVMWXSVKERM^EXMSREVVMZIHSRXLIWLSVIWSJ Mumbai, starting an orchestrated terrorist attack across the Indian capital. They targeted Westerners at multiple tourist locations including the Taj Hotel, the Leopold Café, and the orthodox Jewish Nariman house.

All but one of the terrorists were captured and killed, the authorities got their information about the attacks from this one man, and traced their heritage back to Pakistan through him. Nariman House, that’s the Jewish Boarding House, was run by a Rabbi and his wife, and his wife was pregnant at the time. They went in and they held all those people inside hostage, and killed a lot of them; they killed the Rabbi and his wife. It was really scary that this could happen so close to me.

During the three day terrorist siege approximately 173 people were killed, as many as 120 hostages were taken and hundreds more were injured. It was during this chaotic time that second-year ePhotojournalism student, Kannagi Bhatt, arrived home to Mumbai. Compelled to bear witness, Kannagi retells her experience.

A couple of days later everyone from the city came to a candlight vigil that was held, they were all there, just lighting candles. The whole GSYRXV] [EW WS ERKV] ERH JSV XLI ½VWX XMQI XLI] [IVI HIQERHMRK answers from the government—but the government had nothing to say.

±8LI]FEWMGEPP]NYWXOMPPIHEPSXSJMRRSGIRXTISTPI 1]½VWXVIEGXMSR was panic, it seemed ridiculous that ten guys could just come in on a boat and do so much damage in three days. There has always been this “India-Pakistan, Hindu-Muslim” thing, but never anything so huge.

The Indian Government is corrupt, very, very, corrupt, and everyone in the country was saying that they were sick of it. People are demanding change, so now the government is going to have to change, because of this. I was comfortable being there, I don’t know, I just felt like I had to do it.”









THE BEAUTIFUL GAME Story and Photos by Dale de la Rey

The most popular sport in India is undoubtedly cricket. I recently spent two and a half months working in New Delhi, and being a huge cricket fan myself, I documented people playing their ‘beautiful game’ around every park and street corner. India’s oldest reference to cricket can be dated to the year 1725, when sailors played a friendly match at a seaport in Kutch. Today, GVMGOIXMWXLIYRSJ½GMEPREXMSREPWTSVXERHMWIUYMZEPIRXMRTSTYPEVMX] XSJSSXFEPPMR&VE^MP -RTEVOWERH½IPHW WXVIIXPERIWERHIQTX]GEV park spaces, adults and children battle it out in lively matches. 64

Every young boy dreams of becoming the next Sunil Gavaskar, Sachin Tendulkar, Rahul Dravid or Mahendra Singh Dhoni, and representing the national cricket team.With cricket running through XLIZMIRWSJIZIV]GMXM^IRGVMGOIXIVWEVIRSSVHMREV]FIMRKW°XLI] are seen as God’s. Fans pray for victory, whether in a test match or a one-day international. For many Indians, cricket is as important as religion, love and even life itself.





For many Indians, cricket is as important as religion, love and even life itself.



±-X´WENSF-´QEHMJJIVIRXTIVWSR[LIR-´QMRXLITPEGIXS[LIR- PIEZIXLITPEGIMX´WEVSPI-TPE]² Kimberly is not your ordinary Gold Coast girl. When I met Kimberly at school in 2002, I found out she was living out of home with a group of friends and I thought to myself how ‘cool’ that would be at our age. I soon found out that the reason for her living arrangement was not ‘cool’ at all. After experiencing physical and emotional abuse from a very young age, Kimberly left home at age fourteen to fend JSVLIVWIPJERH½RHEFIXXIVPMJI8LEROWXSEHIXIVQMRIHSYXKSMRK and friendly attitude, she graduated high school with good marks, great sporting achievements and a very large group of friends. 70

Since high school, Kimberly’s life has been up and down. Due to a lack of direction both personally and in her employment, Kimberly has rarely been able to settle down and live a normal life. Without LEZMRK ½RERGMEP ERH IQSXMSREP WYTTSVX HYVMRK LIV XIIR ]IEVW Kimberly is a lot further behind than most people in their early twenties. In order to survive, Kimberly works by night as a dancer. ±4ISTPI XLEX ORS[ EFSYX QI HERGMRK EVI XLI TISTPI XLEX -´ZI decided to tell, because I know that they wouldn’t react negatively towards it. If I told people and said it as if I had insecurities about myself being a stripper then I’d probably cop shit because they’d see it and feed on it and be like, ‘why are you doing that?,’ but if tell them, ‘oh I’m doing dancing and I really enjoy it,’ what can someone WE]EFSYXMX#²




If I tell them ‘oh, I’m doing dancing and I really enjoy it,’ what can someone say about it?


/%8,1%2(9 Photos by Nicolas Rakotopare

(YVMRK  LMKL EGLMIZMRK +VMJ½XL 9RMZIVWMX] IGSPSK] WXYHIRXW YRHIVXSSO ½IPH[SVO [MXL WXYHIRXW JVSQ /EXLQERHY YRMZIVWMXMIW in Nepal. Among them was self-taught Madagascan photographer, Nicolas Rakotopare, who documented his travels through Kathmandu, Chitwan National Park, Pokhara and the Annapurna Conservation Area. Rakotopare’s photo series is a poetic and haunting window on daily Nepalese life, allowing us but a taste of magic and evoking a certain sense of mystery and intrigue. 76



Elderly woman, Birethanti, Annapurna Region. 79



The Mahout is the elephant carer and driver. Every morning, he sits down and prepares balls of sugar wrapped in hay to feed the elephants, Biodiversity Conservation Center, Chitwan National Park. 82

HOPE Story and Photos by Victor Wu

I arrived in Cambodia with my donation, a ten kilogram bag of rice. Although this was only a small donation, the impact it ould have on the organisation was still vast, with even the smallest of donations being deeply appreciated in the orphans daily lives. However, there are many uncertainties that make it hard for the organisations to keep a stable learning environment for the children. 8LI'EQFSHME(IZIPSTQIRX3VKERM^EXMSR '(3  JSYRHIHF] Mr. Sean Samnang in 2008 is a non-governmental, non-political and RSRTVS½XEFPI SVKERMWEXMSR 2SVXL)EWX SJ 7MIQ 6IET8LI '(3 has been seeking sponsorship since its establishment, with some SZIVWIEWSVKERMWEXMSRWERHMRHMZMHYEPWSJJIVMRKTL]WMGEPERH½RERGMEP help. However, these generous donations are never enough to meet the increasing needs of the organisation. After leaving the CDO, I travelled to the Chres Village School ERH 3VTLEREKI ERSXLIV WMQMPEV SVKERM^EXMSR [LMGL MW PSGEXIH E 84

SRILSYV HVMZI JVSQ HS[RXS[R 7MIQ 6IET -X MW E WMKRM½GERXP] larger facility with a capacity double that of the CDO. I had the opportunity to speak to a few of the orphans who are studying and living at the facility. It was to my surprise that the children could speak English quite well, in fact almost better than I do, as english is also my second language. As the school offers language studies, most of the students are able to speak more than just their native tongue, Khmer. Though like the CDO, the Chres Village School and Orphanage relies on donations and sponsorships, as well as volunteers as part time teachers, which are always resources that are always in shortage. ePhotojournalist Victor Wu travelled to Cambodia in 2010 to spend time documenting the lives of orphaned children and the fantastic work these organisations are doing to aid in the improvement of these children’s lives.


Three students in Chres Village School & Orphanage study in a classroom on the weekend. PREVIOUS PAGE: Students in CDO wait in the classroom for class to begin.


A boy plays with a toy bear in front of a mirror in the bedroom of Chris Village School & Orphanage.


A boy poses against the fence during the break.


SCARS Story and Photos by Ashley Schumann

7GEVWEVIEVIEWSJ½FVSYWXMWWYIXLEXVITPEGIRSVQEPWOMREJXIVMRNYV] or disease. They are a natural part of the body’s evolved reaction to damage. During the journey of this series, I have examined the physical imperfections on the human body through a diverse range of people and the unique stories behind their scars. There’s a certain beauty to imperfection. It reveals character. Almost everyone has a scar and every scar tells a story. 90









Sometimes a single image says it all. The following collection of images have been chosen for their ability to inspire intrigue. They EVIRSXPMROIHXSSRIERSXLIV째IEGLXIPPWMXWS[RXEPIIEGLLEWMXW own author. 100

Tim Bakers of the Elouera Surf Life Saving Club, dives into the water during the Australian Pool Rescue Championships, Sydney, 2009. Photo: Jerad Williams/ARGUS 101

Wanderer, Moroccan desert, July 2010. Photo: Ashley Schumann/ARGUS 102



Free runner Jay Campbell performs a precision jump from a three storey high building to a garden bed. Photo: Christine Brown/ARGUS 104



The TS Gayundah Naval Cadets gather for the ANZAC Day march along George street in Brisbane, 2009. 4LSXS/IPP]1G-PZIRR]%6+97 107


A couple ride through downtown Siem Reap, Cambodia. Photo:Victor Wu/ARGUS 109



A surfer makes an interesting exit off a wave at Burleigh Beach, Gold Coast. Photo: Marianne McDade/ARGUS



Married over 70 years, Mary and Eddie Roberts enjoy their daily homemade lunch together in the comfort of their Gold Coast home. Photo: Jessica Allardyce/ARGUS 113


The banks of Aurlandsfjorden, an arm of the iconic Sognefjord during a Summer Viking Festival in western Norway. Photo: Bridget Ferguson/ARGUS 115

An intersection on Pub Street, Siem Reap, Cambodia. Photo:Victor Wu/ARGUS


A man cooks barbecued foods at a night market in Brunei. Photo: Sophie Baker/ARGUS




Afternoon light, the Spit, Gold Coast, Australia. Photo: Sarah Watson/ARGUS


On camelback, police patrol the desert surrounding the Giza pyramids, Egypt. Photo: Bridget Ferguson/ARGUS


JC Epidemic BMX rider Shannon Birch practices his stunt tricks at their training compound, Tamborine Mountain, Queensland. Photo: Sophie Baker/ARGUS



Two kids play beside a sluice in Cambodia. Photo:Victor Wu/ARGUS


The traditional tannery in the Medina of Fes, Morocco. Photo: Sophie Baker/ARGUS


An abandoned church at sunrise in the opal mining town of Lightning Ride, NSW. Photo: Bridget Ferguson/ARGUS






Edinburgh Castle, Scotland. Photo: Grant Scott/ARGUS


A begger in the underground Metro, Paris. Photo: Sarah Watson/ARGUS


Australian Surf Lifesaving Championships 2011, Gold Coast. Photo: Shuo Huang/ARGUS 130


A religious leader’s tomb in the Cathedral of Lisbon, Portugal. Photo: Sophie Baker/ARGUS 132


The Argus: Volume 1  
The Argus: Volume 1  

In the course of four years, the ARGUS has published dozens of feature stories online. In producing this first print collection, editors wor...