Hunters wear dead herons as hats: Randy Olson’s best photo | photography

IIn my 30 years at National Geographic, a recurring theme in my work has been the impact of extractive industries on pristine ecosystems and indigenous communities. The bird hunters in this shot are near a Harappan archaeological site in the Indus Valley. Many of the traditions that survive in this region of Pakistan can be traced back 5,000 years to the Indus Civilization. Mohana fishermen still use flat-bottomed boats similar to those from that era and carve the same terracotta figures to offer as sacrifices in their present-day temples. Bird hunters in the area use techniques depicted on ancient terracotta pots from the same period.

During my time in Pakistan, the Mohenjo-daro region was notorious for kidnapping Americans. It was a lawless area where bandit groups operated. I ventured beyond the protected area of ​​the archaeological site because I had heard of men hunting birds by hand, a practice I had never seen documented. I spotted them from afar with carefully packed bird head hats and arranged to join them the next day.

A troop transport with a mounted machine gun was used to transport me. I had also been assigned a single guard with an assault rifle, but I knew the bandits worked in groups of six. I asked him what would happen if they confronted us. He said, “Either they’re lucky or I’m lucky.” I got rid of this guard who was ready to start a firefight. The kidnappers had never hurt anyone, they just wanted the money. I’d rather National Geographic get poorer than be dead. Luckily I didn’t encounter any bandits.

The people who maintain these ancient traditions are poor. They hunt to feed their families. Being careful not to interfere, I waited until they were finished hunting to take photos. They wear hats made from herons they have previously caught and eaten, and tie other live herons to tires as decoys. You can see this in the picture. They submerge up to their chins and mimic birds to attract waterfowl. When the birds approach, the hunters grab them with their hands.

I’ve often seen situations where people act for tourists, but this was real. They didn’t do it to be old-fashioned – it’s a practical survival method. The photo captures a culture very different from my own and I am proud of its authenticity. The picture is so far from the reality that most of us know. This gives it a certain level of mystery.

Twice I woke up to find that the airport I was supposed to fly to had burned to the ground. And there were times when I went to extreme lengths to get somewhere, like Sudan, and then, after weeks of preparation, dust storms thwarted my aerial photography plans. When you’ve made it through the whole journey and finally find yourself in front of a scene like this, the real fear is that you’ll miss the opportunity to capture something extraordinary. But the few successes make it all worthwhile.

I appreciate my years at National Geographic, but I’m currently concerned that the space for social documentary work is shrinking. We live in a time full of visual language, but it is challenging for photographers to make a living from social documentary stories. This concern led me to found The Photo Society in 2011, a non-profit organization aimed at supporting photographers.

I have had incredible experiences over the last three decades, some of which I can hardly believe I was a part of. As the world moves forward, I hope these stories are understood and remembered. Many of the things I saw no longer exist.

Randy Olson’s resume

Born: Wisconsin, USA, 1957.
Trained: “Seven years at the Pittsburgh Press; 30 years at National Geographic Magazine.”
Influences: “My wife Melissa Farlow and my parents; Larry Burrows, Robert Frank, Elliott Erwitt.”
Highlight: “I spent seven years photographing a working-class family affected by AIDS, at a time when most images of the disease focused on gay men and terminal drug users. I was able to capture both the good and the bad times. Interestingly, over time, the family became a support system for me as I faced my own health issues. It’s a reminder that you can never predict how things will turn out.”
Low point: “National Geographic sent me around the world four times to cover a story about population dynamics as the world’s population reached seven billion. I took some of the best photos of my career, but the magazine only published four of them.”
Top tip: “My greatest skill is my ability to bore people. This approach helps me avoid staged photos and capture moments when people “go inward.” Richard Avedon did something similar when he spent long periods of time under the 4×5 camera cloth and people went inside for his portraits.”