The Photographer, by Dider Lefèvre & Emmanuel Guibert

Concept: 4 out of 5

Execution: 3 out of 5
Yeah, but: The paperback cover was clearly designed by committee

The Long Version:  The Photographer documents photojournalist Didier Lefèvre’s 1986 journey in the highlands of Afghanistan through a fantastic and unique collection of words, photographs and illustrations.

Like soccer, graphic novels have never really caught-on to the mainstream in North America.  People are aware of their existence - and of course there are collectives of devotees and fanatics - but regardless of their staggering popularity outside the continent, the popular forms of entertainment simply lie elsewhere.

In many parts of the world it is understood that complex stories and mature themes can be brilliantly expressed through the combination of words and illustration in a graphic novel, but it’s been an uphill battle for acceptance in North America where there’s still a juvenile stigma attached to reading them. Most people would feel awkward to be seen on public transit reading these large-format comics for adults, with their brightly coloured drawings and cartoon speech bubbles.

This may explain the ugly paperback cover of the English edition. It’s a crowded mess of image and text, far removed from the elegant simplicity of the original French version. The back cover has been plastered with accolades from reputable American sources to lend credibility and convince buyers that this is not an Archie Double Digest.

Didier Lefèvre’s story takes place in the highlands of northern Afghanistan in 1986, at the time when the Soviet’s Cold War expansionism began to break. 

At this time Médecins Sans Frontières/Doctors Without Borders (MSF) was entering the country on foot to build a tiny mountain hospital for the local civilians, and Lefèvre accompanied the doctors as a photojournalist to document the process.

The war and the politics of the time serve as a backdrop rather than a subject. This appropriately reflects Lefèvre’s then limited knowledge of the astoundingly complex situation. Lefèvre was young and the reportage for MSF was his first major assignment. 

The story begins while he is packing to leave Paris, then briskly carries us to the middle-east where we are introduced to the characters, the culture and the mission. It’s an on-the-ground journal of the photographer’s experiences while travelling by foot and by mule through the heat of the valleys and the ice and snow of the mountain passes.
We listen in to conversations and see the experiences of everyday life, of photography, of medicine and surgery, of the internal politics of the organization, and of the inevitble cultural clashes. 

The collaboration of Lefèvre’s memories told through Guibert’s writing gives the story an objective view of the situation, told with the perspective of hindsight. Lefèvre does not go easy on himself or others when rash decisions were made, and there’s a clear honesty in his words.

Much of the book uses the original photographs of Lefèvre as wordless panels seamlessly placed in the illustrated narrative. Often the images appear as photographic contact sheets, with the sprocket holes of the Ilford HP5 visible under the red grease pencil of his selects. 

Emmanuel Guibert’s ink-dropper illustrations are the perfect foil to the realism of the photographs.The illustrations will often provide a reverse angle view of the action, or propel the story forward by bridging the scenes during which Lefèvre’s camera was put away.
The photographs will often snap you back to reality after a full-page of illustration, reminding you that this really did happen.
It’s especially rewarding to recognise specific elements from the illustrations in the photographs, a distinctly shaped rock, some clothing, a man’s rifle.

Few images of Lefèvre exist - as he was the photographer - so Guibert has filled the gaps with realistic renditions of Lefèvre and his habits. The official website shows a video of Lefèvre changing the film and lenses of his battered Nikon and Leica cameras. This was used by Guibert as a reference for his many illlustrations of Lefèvre in action.

The subtle natural colouring and page layout of Frédéric Lemercier is the glue that seamlessly binds together the contrasting styles of illustration and photography. The steel blue of the sky darkens from panel to panel as night falls or day breaks. An illicit border crossing under the cover of darkness is exactly as you would see it; stumbling through the boulders you can barely make out the forms of the other people against the inky sky.

The Photographer is a joy to read. By turns; exciting, exasperating, emotional, funny. Unlike the mystery of Steve McCurry’s famous image Afghan Girl, The Photographer provides a context for each photograph that cannot be captured in newspapers or magazines.
In Seeing each of Lefèvre’s photos for the first time we know the characters, we appreciate the location, we understand the situation.


Anthony writes about overland travel photography at www.motojournalism.com

The North Face Base Camp Duffel bag

Concept: 2 out of 5
Execution: 4 out of 5
Yeah, but: Unless your name ends in “Sherpa” you don’t want to use it as a backpack.

Nearly all product descriptions and reviews of The North Face Base Camp duffel begin by trying to sell you on the bag’s ability to be strapped to a yak.

Admittedly, I’m lacking in the yak department, but I have found that the Base Camp Duffel is a good companion for my own beast of burden. For over 60,000km - from Newfoundland to Panama - the large, grey cargo carrier has been strapped to the back of a motorcycle, and it’s still going strong.

This review shows the medium sized bag, with a 70 litre capacity (4200 in3)

Large handles on either end offer a burly grab point for hefting it onto the bike, across rocks, or off of an airport baggage conveyor. There are also standard gym-bag duffel handles, though these seem useful only if you’re carrying a light load.

The removable “Alpine cut” backpack straps are lightly padded and have a comfortable curve. Being able to carry the duffel on my back allows me to keep both hands free for carrying the rest of my luggage and helmet. It's an appreciated feature on a bag this big. The backpack straps let me walk away from the motorcycle - everything in one load - to wherever I’m staying for the night. This can be a big deal in if you’re staying in a sketchy area.

That said, this is *not* intended to be a backpack - there is no hip belt or load bearing frame. With it’s barrel-like geometry and the amount of cargo a bag this size encourages you to carry, there is just too much weight on your shoulders to carry any long distance.

The big D-shaped lid opens like a trunk for easy access to your gear. The daisychains that run both lengths of the bag provide secure tie-downs that don’t interfere the opening of the lid. This makes for ideal motorcycle luggage.

*Note - The large white strip is reflective material I have added.

Other than the zippered pocket under the lid, there are no internal dividers. The "base camp" concept is that it’s a single piece of luggage used to carry other bags and gear to your destination.

I manage to carry: a tent and poles, sleeping bag, thermarest, motorcycle tools, tire irons, food, clothes/rain gear, tripod, netbook, AC adapters/chargers, first aid kit.

The length of the duffel fits the Manfrotto 190XB tripod, though I’ve found that the ball-head needs to be removed to get the legs in and out of the lid easily.

Four side compression straps help to tame less-than-full loads - the bag must be fairly full to maintain it’s shape and stay on the motorcycle securely. Of course, loose loads are no problem for carrying on buses, cars and airplanes. Or a yak.

The bag is made of a very thick laminate material, similar to the tarpaulin you’ll see on highway-going truck trailers. Solid stitching, bar-tacks and a hefty lockable zipper cause airport baggage handlers to gnash their teeth on sight of the burly bag.

Though the heavy material is obviously waterproof, the thousands of stitching holes will let water drip in over time. I'm talking heavy rain for several hours here, a quick downpour won't be a problem.

Water resistant, yes. Water proof, no.
In practice, this hasn’t been much of an issue. Anything that can’t be wet gets put in a drybag before it goes inside the duffel.

There are 100% waterproof duffel bags out there, but dry bags have few tie-down points. Getting to your gear means you have to unlash/re-lash the bag every time. That’s a big deal considering how often you need to get to your food, or warm clothing. The Base Camp duffel is just more “livable” for day to day use on a long trip.

Fumigation at the Belize/Guatemala border 

The Base Camp Duffel has been through torrential rain in Newfoundland, sandstorms in the Sonoran desert and muddy mountains in Guatemala. The worst I can report is two bar-tacks on the daisychain popping out after many months of strain on the road. I’ve been told by a North Face rep’ that I can send it in for free repair under warranty.
I’ll be using this bag for years to come, it just works.

I’ve given the Base Camp Duffle a 2 out of 5 for concept, it’s just a duffel bag after all. But it deserves a 4 out of 5 on execution for it's build quality and  for having just enough well thought out features to be useful. There’s no fluff on this duff'.

Anthony teaches  motorcycle travel photography at www.motojournalism.com