Nepal - One Year after the Earthquake

According to the Nepalese calendar, today is the one year anniversary of the earthquake which killed 9,000 people and left many tens of thousands homeless.

I was in Nepal a few days after April 25th, 2015; I've returned several times since and am back again to see how rebuilding work is progressing. I've worked for several agencies and NGOs in the past year, including Getty, Splash, Global Giving, Charity:Water and others. All the NGOs I've worked for are doing impressive work in the region and I'm proud to be helping them share their stories.


Bhaktapur, a city about an hour from Kathmandu, was one of the areas hardest hit by the earthquake. The city is a UNESCO World Heritage site and home to several ancient temples, some of which were destroyed. Many homes in the city were old and vulnerable and were either destroyed or left in a state too precarious for habitation. Many homeless families have left the city to live with friends or family and those who have stayed are living in temporary shelters. The word "temporary" in that last sentence has an elastic definition.

Where home owners and neighbours were sifting through the rubble last year, searching for survivors and trying to salvage possessions, in 2016 the same sites are being slowly prepared by hand. These workers are employed and paid between 500 and 1,000 rupees (just under US$5-$10) per day.

In these before & after photographs, it's possible to see how the debris and rubble have been cleared away from the pavements and some buildings have been torn down. Many of those that remain are still unsafe and those that were flattened have yet to be rebuilt.

Durbar Square, Kathmandu

Kathmandu's Durbar Square is another UNESCO World Heritage site and probably the most famous site in Nepal. Several ancient temples were destroyed or badly damaged. Repairing and rebuilding such unique structures must require careful planning and well-managed execution if the integrity of the architecture is to be maintained. However, one group of students I spoke with blamed the Nepalese Government for not distributing the funds required in a more timely fashion. "We are embarrassed for Nepal", said one student. Fellow students nodded in agreement as she continued, "This is our culture and our heritage. How can it be left like this? Why are our politicians not ashamed?".

The Kumari House, one of Kathmandu's most sacred buildings and high on the list of 'must see' tourist destinations has reopened. The debris has been cleared away, the pavements are open to pedestrians and the facade is now supported with wooden beams.


There is evidence of rebuilding in a small minority of homes. Here in Bhaktapur, Sundari carries bricks into a building and prepares cement for the bricklayer. It doesn't look like easy work. Mixing cement by hand is an arduous task. Women typically receive 500 rupees per day for labouring work. Men receive 1,000 rupees, on average. There is no obvious division of labour, other than women seem to do most of the lifting. When asked why women get paid less - or why men get paid more - the answer was invariably a shrug of the shoulders and a variation on "Because that's the way it is".



Women making a difference

It seems to this reporter that it's typically women who do much of the building work whilst also keeping their communities together. Whether it's people like Sundari, carrying bricks and mixing cement, her colleagues (pictured below) carrying hods of bricks and ballast or women like Sukla Laxmi and her friends. Mothers and grandmothers, all have been left homeless yet all seem to have succeeded in keeping their families together. Sukla is typical of may of the Nepalese women I meet in the temporary shelters and camps. She's kind of bossy but laughs a lot.

Sukla Laxmi

Sukla Laxmi

"You take my picture here" she tells me. I do as I am told.

"Now wait here, I'll get my friends". I don't mind being bossed around because she's laughing all the time. It just seems funny to me and to those standing nearby.

"OK. Take our picture here." she tells me.

"Well, the light is better here." I suggest. She squints at me, weighing me up, calculating whether I look like I know what I'm talking about.

"Hmm, OK." She relents but is quick to check my work.

"Why did you cut off our legs?" she demands.

"So we can see your beautiful faces more closely" I counter.

She doubles over in laughter, we all take our cue from her and our laughter echoes between the corrugated iron shelters.

"You are too funny" she tells me. From her, it's a compliment I'm delighted to accept.

Sarmila, Rasmila and Samir

I show the women my phone and a photo of a girl I photographed at the same location in 2015. Sarmila was playing at her grandparents' home when the earthquake struck at four minutes to midday. The home was destroyed. Miraculously, Sarmila and her grandparents survived and when I met them, they were painstakingly sifting through the piles of rubble that once formed the family home.

"Sarmila is away", they tell me. "But we will call her'. They take a note of my phone number and promise to call me. It seems like a long shot so I say my goodbyes and head off, not really expecting to hear any more.

A few hours later, my phone rings. Sarmila is on the other end of the line.

"I am home now" she says. "Are you coming to see us?"

Twenty minutes later, I'm back at the camp and Sarmila, now fourteen, her older sister Rasmila (17) and their entertainingly cheeky brother Samir (12) are waiting.

I spent some time with Sarmila and her friends in 2015. I think they were pleased to have an excuse to focus on childish things for an hour or two. I don't tend to offer much in the way of maturity and relish the opportunity to lark around with the other children. It's hard to imagine having to take on the very grown up responsibilities of salvaging belongings from a wrecked home, fetching water several times each day from the communal tap and caring for younger children in the camp when you're barely even a teenager yourself.

I was pleased to see Sarmila looking much less tired than she did a year before. A happy, carefree childhood is a precious thing and something of a rarity in Sarmila's community.

The kids insist that I follow them through the maze of alleyways to their parents' home. Although it was not destroyed in the earthquake, it shows signs of disturbance. The walls are cracked and the narrow, wooden stairs are leaning at an alarming angle. I'm not confident that they will bear the weight of a lumbering photographer (it's the cameras and lenses that weigh so much!) so I step gingerly up each staircase, worrying that I might fall through at any moment.

On the fourth floor, I meet the kids' parents, who invite me to sit and share a drink. Cheeky Samir remembers using my cameras last year and is keen to continue his photographic career. He shoots these portraits of his mother, sister and me, which, I have to say, are really impressive.

We talk about the earthquake, about their grandparents, about school, about life in Nepal, about other countries, about the quality of light for portraits and all the while I'm trying to figure out whether the kids might adopt me if I ask them nicely.

Samir helps me shoot a quick portrait of each of his sisters and poses for a final portrait himself before I realise that the light is fading and I still have to get back to Kathmandu. The stairs squeal but hold up as I descend. Samir leads me back through the alleyways to Bhaktapur's Durbar Square where we have time for an ice lolly before I have to head on.

Laxmi and Shambridi

Soon after saying goodbye to Samir, I meet Laxmi and her daughter Shambridi sitting outside a tent. Laxmi explains that her daughter was less than four weeks old when the earthquake struck. They've lived in the tent outside their broken home ever since. The upper floors of the building collapsed. Fortunately, at midday, Laxmi and Shambridi were downstairs. Had the earthquake struck at another time of day, they might not have been so fortunate. This is a story I've heard many times from people who were outside because it was lunch time on a Saturday. On a weekday, kids would have been in their classrooms. Families might have been asleep in upper storey rooms if the earthquake had come at night. The number of fatalities might have been so much higher and families might not be so fortunate should another event strike.

Having homes built to a reasonable standard in a region prone to seismic activity would seem like the very least residents could expect but, sadly, in Nepal, that's unlikely to be the case. I spoke with a structural engineer who explained that most Nepalese homes are vulnerable to earthquakes. "They're built with brick", he explained, "but the cement is not strong and there's very little reinforcement. It's essentially like living inside a giant Jenga building where any sizeable vibration is likely to see the structure topple".

I'm remembering his words as I photograph little Shambridi. It's hard to think that she might actually be safer in a tent.

Nepal Red Cross Society

In Durbar Square, the Nepal Red Cross Society have set up a mobile kiosk and are distributing information leaflets. The leaflets advise how to pack an emergency bag to be used in the event of another earthquake. Experts suggest that last year's earthquake was probably not the "big one" and that a larger event is almost certain to strike the region in the future. It's a sobering prospect.

It also strikes me that this is the only evidence I've seen of an NGO working in the area. I know that there are many projects working tirelessly in Nepal and that without their aid and support, lives would be considerably more challenging. However, with such a large area to cover, any aid is inevitably spread thin. The leaflets are welcome and could very well save lives. I just wish there was greater evidence of support for those who have already struggled through one winter and who seem destined to struggle through more before their homes are rebuilt.

Anniversary Memorial Ceremonies

Back in Kathmandu, preparations are underway for ceremonies to mark the anniversary of the earthquake. One group is offering to paint faces with a likeness of the Dharahara Tower. Once a landmark in central Kathmandu, the Dharahara Tower collapsed during the earthquake, killing 180 people. The tower has become a symbol of Nepal's hope for renewal.

Students from a group called the Youth Initiative are staging a performance art piece. Passersby are invited to play out scenes from their own experience during the earthquake, forming graphic silhouettes on a white sheet. The audience view the impromptu performance from the other side. As the students explain, the sheet symbolises what they see as a narrow but definite divide between the earthquake victims and the Government. It's a metaphor that they're keen to expand upon.

"The Government have not helped. They have received so much aid from the international community but they spend all their time making up fake projects and the money will disappear unless the people speak up and demand action."

It's a common theme in my discussion with people in Kathmandu. I've yet to hear one voice in support of the Government. It seems that everybody I've spoken to, no matter whether they were significantly affected by the earthquake or not, feels that the Government have let the people down. It's been widely reported that pledges amounting to US$4.1 billion have been made yet the Government has so far failed to distribute even a fraction of those funds. The suspicion seems to be that corruption will dilute those funds and a few will get rich whilst those most in need will continue to struggle.

As various groups begin to place candles, a man carrying the Nepalese flag crosses Durbar Square.

At 6:30pm, as the sun disappears below the horizon, volunteers begin to light 9,000 candles in the shape of Dharahara Tower. The words read "We Will Rise", a mantra that you'll see and hear whenever people in Nepal speak about the earthquake.

On the other side of the square, the bamboo scaffolding provides a stark reminder of the work still to be done.

Each of the 9,000 candles represents a life lost to the earthquake.


As the daylight fades, children keep the candles alight.

Evangeli - hope for the future?

I meet the parents of four year-old Evangeli, who is entertaining herself by lighting candles and shielding them from the gentle breeze that's crossing the square.

She looks up, gazes directly into the camera but continues to protect the candle on the ground in front of her. I make a couple of frames. She is so intent on keeping that flame alive. Perhaps when she's older, Evangeli will become a politician and be just as protective about the people she represents. Let's hope that day comes soon. The people of Nepal deserve better protection than they appear to be getting right now.


If you're wondering how you might support the people of Nepal, there are many aid agencies working in the region. Personally, I'm involved with some groups who I know make a real difference with practical, straightforward solutions to pervasive problems. I recommend that you look at the work being done by Global Giving, Charity:Water and, my personal favourite, Splash. I've seen first-hand how these organisation can make a very real difference.

A Request

I'm keen for the plight of Nepal's population to reach a wide audience. It seems that in our increasingly curtailed news cycles, stories such as the Nepal earthquake have a short shelf life and it can be a challenge to cut through the noise of celebrity gossip. My images only have any value when they're seen so please consider sharing this post with your social media friends and followers and perhaps we can make Nepal's flame burn a little brighter. Thank you.

BenQ SW2700PT 27 inch Adobe RGB Colour Management Monitor for Photographers

Photographers. We're a picky bunch. Over time, we've probably all developed a fondness for those trusted tools which serve us well. Those tools which prove themselves to be both functional and dependable become a valued part of our working lives. I've certainly fine-tuned my gear over the years, holding on to those things which help get the job done and parting company with tools that don't deliver.

Gear can't make good images alone, of course. Photographers are fully responsible for that. But when we agree a contract with a client, we're staking our reputation not only on our talent and experience but also on the gear that we've chosen to use. You could try taking photos without relying on camera gear but I think you'll find that's called sketching.

One of my favourite pieces of post-production gear was a large Apple Cinema display that I bought in 2008. That model was, sadly, discontinued soon after. I must have processed many tens of thousands of images using that monitor, which was one of the last anti-glare models that Apple made.

I fail to understand what the appeal of glossy screens is. I have a mirror in my bathroom and another in the hallway. I find that's sufficient for all my reflective needs. New Apple monitors are so glossy they're all but useless in anything other than a darkened room. I have a 27" Apple Cinema display and had to buy black shirts for processing because the reflection of anything brighter was a constant distraction. Seriously!

It was with some delight, therefore, that I welcomed an enquiry from BenQ, makers of a new "Colour Management Monitor for Photographers" asking if I'd like to test their SW2700PT display.

"Is it glossy?", I asked.

"Glossy? Why would it be glossy?"

"I don't know. Most monitors are glossy these days."

"Of course it's not glossy. If it were glossy you'd see a lot of reflections and that would make it difficult to process your photos accurately."


"It has a 99% Adobe RGB wide colour space."

"OK. Great. But it's not glossy?"

"No. Not at all glossy."

"When can you get it here?"

"We're sending it now."

And, duly, the SW2700SPT arrived, was unpacked, carefully calibrated and I've been gazing at it in silent admiration ever since.

In the interests of full disclosure, I haven't purchased the monitor, the ruggedly handsome people at BenQ sent it for me to test on the understanding that I'd write a review but, as is always the case when I accept what might accurately be described as 'hardware inducements', I make it clear that I'll write something if I really like the product and won't write anything if I think it's a dog. The fact that you're reading this will tell you that the BenQ SW2700PT is not a dog. It is, in fact, a cool cat.

If you'd like to know more about the technical whatnots of the monitor, you'll find an overview here, technical specs here and excellent case studies here, here, and here.

I will get to the technical whatnots in a moment but, first, can I share these two images with you? This is exactly what I see on my office desk and why, for me, the BenQ monitor has been a very welcome addition to my list of trusted and valued gear.


On the left... no, not a mirror, but my 27" Apple Thunderbolt display. On the right, my 27" BenQ SW2700PT. Taken in identical light, moments apart, on an overcast day with light curtains across the windows in my office with both monitors displaying a mid-grey background. A typical office setting, in other words.

That glossy, reflected image would be my starting point if I were processing on the Apple monitor on the left. Well, not strictly true as I would change into one of my black "Processing Shirts", draw the curtains and remove the picture hanging on the wall behind me but I don't think it should be necessary to undergo a complete wardrobe change and feng shui session in order to start work.

Shading Hood

The BenQ comes with a detachable, light-absorbing hood, which prevents stray light from hitting the screen and has allowed me to reacquaint myself with daylight. Darkened processing sessions are a thing of the past. The hood has a canny gate at the top, allowing a calibration device to be dropped onto the screen below, which introduces the real benefit of the SW2700PT, beyond it's non-reflective screen.

Colour Management

As digital photographers, I would say that our work is only 50% complete when we press the shutter release and make a photo. Years ago, when I was shooting Fuji Velvia and Kodachrome slide film, I'd be 95% done when I clicked the shutter. All that remained was printing neat captions on labels to fix to the slide mounts. Things have certainly changed. With the immediacy and flexibility of digital photography comes a considerable extra workload. Those RAW files are going to require careful management before they're ready to send out into the world. When I calculate assignment budgets, I reckon on a 1:1 ratio of shooting/processing. For every day I spend on assignment, I'll expect to spend another day processing.

I think we need to adjust our expectations about where we expect to allocate resources when shooting digital. As well as the 1:1 shooting/processing ratio; for every pound, euro or dollar I spend on camera gear, I pretty much expect to spend another on post-production hardware and software.

Which brings me to the technical whatnots and the thorny issue of colour management. I warn you, there will be charts and acronyms ahead.

When you shoot a RAW file, your camera captures a really wide gamut of colours. When you view that image in Lightroom, for example, you'll see an interpretation of that colour data presented in the ProPhoto colour space.

In this diagram, you can see the curved horseshoe shape indicating colours visible to the human eye. The digital ProPhoto colour space is the nearest colour gamut to that.

Yielding a smaller colour gamut, the Adobe RGB colour space is the one most commonly associated with printing. Printers aren't capable of fully realising the wider ProPhoto space. What does that mean in practice? It means that when you print a photo, you're potentially going to lose some of the colours recorded in your image file.

Smaller still is the sRGB colour space. This space is most commonly associated with computer displays. It's significantly smaller than AdobeRGB and a great deal smaller than ProPhoto. What does that mean? It means that when you view a digital image on an sRGB screen, you won't see all of the colours available in the file's data.

These differences are further complicated by the hardware you're using. Dedicated monitors typically display a wider range of tones and have better black, white, grey and saturation accuracy than laptop displays. Smaller displays yield less accuracy than larger displays, generally. So a 12" MacBook Pro doesn't display colours and tones quite as accurately as a 13" MacBook Pro, which, in turn, is less accurate than a 15" MacBook Pro.

In practice? It means that you really wouldn't want to be doing any critical processing work on a laptop screen. More than that, it means it's virtually impossible to accurately process files for printing on an sRGB monitor.

Most displays, including my disturbingly glossy Apple monitor, display a reasonably accurate version of the sRGB colour space. Until recently, you will have needed to invest a substantial amount of money to own a monitor capable of displaying the wider AdobeRGB space. Chances are, you're looking at an sRGB monitor right now, which means that I can't share the main benefit of the BenQ SW2700PT with you, which is that it's capable of displaying 99% of the wider Adobe RGB colour space.

I made the simulation below by changing colour profiles for the balloon image, just to give an idea of what can happen when colour spaces change. In the sRGB simulation, colours may look more saturated but you'll see blocks of solid colour with little variation, especially in the oranges, reds and purples. In the AdobeRGB simulation, you'll see a more accurate, wider range of hues with a more nuanced gradation across the tones.


OSD Controller

The BenQ monitor comes with an OSD controller. At first, I hoped it was something that would cure my compulsion to check that the door is locked eight times when I leave home but I think that's OCD - different sort of control, apparently. 

The OSD controller gives access to the on-screen menu and provides customisable shortcut buttons, which can be set to switch between profiles. I've set mine to provide quick access to AdobeRGB, sRGB and Black & White profiles. At the touch of a button, I can switch between colour spaces and see how my image processing is going to affect the file in various formats.


The BenQ has built-in hardware colour calibration tools and comes with BenQ's Palette Master calibration software. It worked really well with my X-Rite i1 Display Pro, giving the sort of straightforward step-by-step instructions that I really appreciate. It even detects how the calibration tool is orientated and suggests that you turn it the right way around. I've written at some length in other places about the importance of regular colour calibration. Without it, your monitor won't render colours accurately and your processing will inevitably include a degree of randomness. Calibrating isn't difficult, takes very little time and the benefits really outweigh the investment required.


The SW2700PT has two USB3 ports and an SD card slot, making it easy to add peripherals, such as a high speed card reader and to download from an SD memory card. It also has DVI-DL and HDMI input/output connections. It comes boxed with all the necessary leads and took me about ten minutes to set up and connect to work alongside my Apple gear.


The monitor displays an impressive 109 pixels per inch and has what I'm reliably informed is a "14-bit 3D LUT (Look-up Table) and Delta E≤2". What does that mean? It means that colours are rendered accurately and smoothly. In practice, it means that I can process images more consistently and with greater confidence than I could with a lower-spec display. I can't show you the difference but I reviewed a series of images in three different displays: a MacBook Pro 15", a 27" Apple Cinema HD and the BenQ SW2700PT and the BenQ is noticeably better at handling fine gradations and subtle details. Whilst you may not need that quality if you're only concerned about posting images to Facebook, if you're ever planning to publish photographs, make prints, compile a book or enter images into competitions, having that extra detail will be crucial.


This, I think, might be the monitor's biggest selling point. Yes, it has all of the qualities you'd expect from a professional monitor but BenQ have cleverly pitched it specifically at photographers who want quality but might not have the budget to pay what those pro monitors usually cost. Monitors of this quality typically cost in excess of $1,500, often $2,000 - $3,000. Looking at B&H just now, I see the SW2700PT is available for $599.99. That's less than the cost of a half-decent lens. By way of contrast, a 27" Apple Thunderbolt display is currently $999.00. Interestingly, a mirror at my local furniture emporium would only cost $20 and yet would yield similar results to the Apple display. Looking at the Apple and BenQ monitors side by side on my desk right now, there's no question which I would use for processing. The BenQ wins hands down.


What does all this talk of colour spaces and gamuts really mean? One of the things that puzzles me (and there are many but we'll stick to photography for now) is the fact that photographers will invest a great deal of time, effort and money into obtaining really impressive cameras and lenses, capable of capturing a bazillion pixels in high definition with fabulous dynamic range but then fail to use all that information. Modern, digital cameras are essentially just data capturing devices. Why have a device capable of capturing a really wide range of data and then immediately throw that data away? If you shoot JPEGs or work only in sRGB then that's pretty much what you're doing.

Unless you're a sports or spot news photographer with immediate deadlines, where image quality can be sacrificed for speed of availability, there doesn't seem to be a good reason for that (please, don't write in).

If you want to take a more holistic approach and are keen to ensure that you're managing the full process, from camera files to final output, then you'll want a display that's at least as good as your camera gear. Until recently, that amount of control demanded that you spend a hefty amount on a professional monitor. BenQ have cleverly delivered a monitor specifically designed for photographers at a very reasonable price.

If nothing else, using the BenQ SW2700PT has allowed me to open the curtains, reveal the daylight, put my pictures back on the wall and change into more colourful attire. I feel very nearly human again. And that, dear friends, is no small achievement.

You can find out more about the BenQ SW2700PT here.

For my friends and colleagues in Asia, you'll be pleased to learn that the monitor has just been made available for sale in our part of the world.