Southern Hotel to screen Covington filmmaker and photographer’s sugar cane film Sub hed: Ticket sale proceeds to benefit St. Tammany Art Association

Southern Hotel to screen Covington filmmaker and photographer’s sugar cane film  Sub hed: Ticket sale proceeds to benefit St. Tammany Art Association

As soon as Covington filmmaker and photographer Andrew Boyd met Joe Judice, he knew there was a story worth telling about the retired sugar cane farmer and his family.

It is a family that has farmed sugar cane in St. Martin Parish for seven generations, beginning in 1800.

“You spend a career meeting and filming and photographing people, and you know a good story when you see one. This looked like a great story,” said Boyd, a former Times-Picayune photographer who now runs his own photography and videography company, G. Andrew Boyd LLC.

Boyd has told that story in “Sugar in Their Blood,” a self-funded documentary.

Through interviews with both the Judice family and sugar cane experts, the hourlong film reflects both on the family’s farming history and the current challenges they — and the Louisiana sugar cane industry as a whole — consistently face to stay in business. It’s a story of pride and resilience in the face of constantly changing conditions, both in terms of business and climate, according to its promotional materials.

“One of the questions that gets asked early in the film and doesn’t get answered until the end is what the future holds. Will there be an eighth generation? And what the challenges are to farm sugar cane these days,” Boyd said.

“Sugar in Their Blood” debuted to a sold-out crowd earlier this year at the 18th Annual Cinema on the Bayou, a juried film festival in Lafayette, where it won the Best Louisiana Film award.

“It was so gratifying because my farmers were all at the opening, and I felt like I had done them justice, to have it seen and accepted and awarded that way,” Boyd said.

Northshore audiences will get a chance to see the film during two screenings May 6 and 7 at The Southern Hotel in Covington. Proceeds from the ticket sales will benefit the St. Tammany Art Association.

Boyd had not set out to create a film about sugar cane farming. But that changed after talking with his friend Chris Dautreuil about filming a sugar cane farm for another documentary filmmaker.

“Chris immediately said, ‘I’ve got a guy you need to meet’,” Boyd recounted.

Dautreuil, now a Covington resident, played high school baseball with Judice and connected the farmer and the filmmaker.

Judice and his brother, Robert, started Judice Brothers Farms, located in the country between Loreauville and New Iberia, in 1964. When Robert retired in 1993, his son Robert Jr., joined the operation. When Judice retired in 2011, his sons, Jim and Justin, joined Robert Jr. in running the farm, which totals more than 2,600 acres.

After their initial meeting, Judice gave Boyd permission to come back and film the farm’s operations.

“I went home, and I did a bunch of Google research and realized there really wasn’t a good story that showed what (modern-day) sugar cane farming is all about ….It was not something that had really been covered in the way this would allow me to cover it,” Boyd said. “From day one, this was a real passion project for me.”

Boyd’s passion for photography began as a young adult “through an interest in the outdoors,” he said, describing how on a hiking trip with a friend, he shot images with a point-and-shoot camera.

When they didn’t turn out how he hoped, the Jackson, Miss., native decided to invest in better camera equipment. He took journalism classes at Loyola University while attending Tulane University, which at the time did not have a journalism program.

Boyd joined the photography team at the newspaper in 1977 and began shooting videos along with still photography for the paper’s website, www.nola.com, around the time Hurricane Gustav hit Louisiana in 2008.

“I was just entranced with what you could do once sound became part of your toolbox and actual moving pictures became part of your toolbox. That all just fascinated me and seemed like a powerful new way to tell stories,” said Boyd, who left the Times-Picayune in 2018 to start his company that creates still photography and videos for clients.

To create “Sugar in Their Blood,” he spent from January 2019 to January 2020 filming a complete farming cycle. He visited the farm at least once a month, documenting the “downtime” in January and February when equipment is repaired, the planting of sugar cane and soybeans (the farm’s bumper crop) in spring, and the harvest in the late fall and early winter when the sugar cane stalks are cut. The film also shows the cane being processed in the local sugar mill.

Along the way, Boyd interviewed Judice, known as the family’s patriarch, and the younger generations about the family’s history and its future. He rode in tractor cabs during the cutting of the sugar cane and used drones (he is an FAA-licensed drone pilot) to film both the fields and the sugar mill.

“You got an up-close look at what’s involved, and these are great guys, too,” Boyd said.

Photographer’s decade-long, 600,000-mile journey shows Indigenous life in new book

Photographer’s decade-long, 600,000-mile journey shows Indigenous life in new book
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Professor emerita Henrietta Mann (Cheyenne), a pioneer in Native American studies, received a National Humanities Medal from President Biden in 2021. The White House citation honors Mann “for dedicating her life to strengthening and developing Native American education.”

Matika Wilbur

THANKS TO OUR SPONSOR:

Photographer Matika Wilbur was tired of seeing one-dimensional, insipid, degrading depictions of Native Americans in mainstream media and popular culture. So in 2012, Wilbur, who is of Swinomish and Tulalip descent, decided to create her own catalog of images.

She sold everything in her Seattle apartment and, with Kickstarter backing, headed out on the road, cameras in hand. Her goal: To illustrate Native Americans’ diversity and complexity by photographing members of all of the then-562 federally-recognized U.S. tribes.

Sisters Isabella and Alyssa Klain of the Diné tribe, photographed outside Salt Lake City, Utah.

Sisters Isabella and Alyssa Klain of the Diné tribe, photographed outside Salt Lake City, Utah.

Matika Wilbur

Matika Wilbur, pictured here in a self portrait, describes her work as a narrative correction.

Matika Wilbur, pictured here in a self portrait, describes her work as a narrative correction.

Matika Wilbur

Ten years, 600,000 miles, and several vehicles later, Wilbur has published her work – portraits and interviews – in a stunning new book: Project 562: Changing the Way We See Native America. Over hundreds of pages, we meet Native elders, rappers, professors, artists, activists, linguists, dancers, ranchers, comedians, and more.

“In a lot of ways, this work is narrative correction work,” Wilbur said. “When I was talking to folks, I was aiming to understand, ‘What are some of the true stories about your people that you want people to know?'”

THANKS TO OUR SPONSOR:

Artist and filmmaker Holly Mititquq Nordlum (Iñupiaq) is helping to revitalize the tradition of Iñupiaq tattoos. A woman’s chin tattoos – tavlugun – “are markers of her life and the celebration of her milestones,” she told Wilbur. “I’m wearing my lineage on my face.”

Matika Wilbur

The sketch comedy troupe The 1491s “use slapstick and satire in performances that unpack stereotypes, debunk racism, raid contemporary culture,” Wilbur writes. Pictured left to right: Bobby Wilson (Sisseton-Wahpeton Dakota), Ryan RedCorn (Wazhazhe), Sterlin Harjo (Seminole, Muscogee [Creek] Nation), and Migizi Pensoneau (Ponca, Ojibwe.) Not pictured: Dallas Goldtooth (Mdewakanton Dakota, Diné)

Matika Wilbur

Rapper Frank Waln (Sicangu Lakota) told Wilbur that personal sovereignty extends to his own body: “I grow my hair long and wear braids. It’s more about not fitting into the colonial gender binaries.”

Matika Wilbur

In her interviews with the people she photographed, they shared stories about the lasting effects of colonization and relocation; about environmental destruction done to Native lands; and about the traumatic experience of those who had been taken from their homes as children and sent to Indian boarding schools to be “assimilated,” forced to give up their language and Native identity.

But along with those painful conversations, Wilbur said, she also heard “the best parts: how we’ve healed from that, and what our people are doing to move forward, and to develop healthy and strong and thriving Indigenous nations.”

Matika Wilbur dedicates Project 562 to her daughter Alma Bee, who was one year old when this photo was taken. Alma Bee is standing along the coast of Washington State on traditional homelands of the Tulalip tribe, with Swinomish land in the background, both reflecting her ancestry.

Matika Wilbur dedicates Project 562 to her daughter Alma Bee, who was one year old when this photo was taken. Alma Bee is standing along the coast of Washington State on traditional homelands of the Tulalip tribe, with Swinomish land in the background, both reflecting her ancestry.

Matika Wilbur

Wilbur dedicates Project 562 to her daughter Alma Bee, now three years old, with these words:

May your children hear and breathe the words of our Indigenous ancestors. May we all be so lucky to know an Indigenous future.

Photos reprinted with permission from Project 562: Changing The Way We See Native America by Matika Wilbur © 2023. Photographs by Matika Wilbur © 2023. Published by Ten Speed Press, an imprint of Penguin Random House.

Copyright 2023 NPR. To see more, visit https://www.npr.org.

THANKS TO OUR SPONSOR:

Photographer Davailus to present at Weatherford Art Association

Photographer Davailus to present at Weatherford Art Association

The Weatherford Art Association will showcase photographer Carmen Davailus May 22 for her presentation, “Rock Your Social Media by Being Yourself” from 6 to 7:45 p.m. at Barlow Hall, 125 S. Waco St. in Weatherford.

Carmen Davailus is a fine art/lifestyle photographer who learned the hard way about social media marketing and then helped many other entrepreneurs show up for themselves. As she puts it, “Social media marketing can be a scary thing. We need to show up when we really just want to make our art. It should be about our art and not ourselves, right? What can we do to make and sell more art without it being painful?”

Learn more about this artist at www.carmensfineart.com.

Weatherford Art Association is a non-profit 501© (3) corporation that promotes the growth of art appreciation among members and the public through community education, instructional demonstrations and lectures plus public display and sales of member artwork. The group welcomes students, single adult and family memberships and includes beginning and seasoned artists in all 2-D and 3-D media. Regular meetings are held every fourth Monday of each month except December. Learn more about Weatherford Art Association at weatherfordart.com.

The Aquarel Collection Interprets Watercolor Through Stone Surfaces

The Aquarel Collection Interprets Watercolor Through Stone Surfaces

A material used in architecture for its strength and durability is unexpectedly paired with another that’s equally as delicate. In the new Aquarel Collection, designed by Patricia Urquiola for Budri, classic Roman travertine and Iranian white onyx are brought together to interpret watercolor “paintings.” Transparencies and pastel nuances are at play here, expressing a contemporary feel that helps to enhance the surfaces of the stone while contrasting with its porosity. A skillful combination of warm tones that fade to cool and back again becomes its own canvas.

“Every project born with Budri is the result of a four-handed research, a creative gymnasium that always leads us to new languages ​​that I would never have imagined could be created with marble,” said architect and designer Patricia Urquiola. “With Aquarel, we started from the symbiosis between a widely used material in architecture, such as Travertine, and the delicate transparency of white Onyx. Exploring how these materials dialogue together, we have created a game of transparencies, contrasts, but also of chromatic nuances and harmonious coexistence.”

wall installation resembling a watercolor painting

The Aquarel Collection was introduced at Salone del Mobile during Milan Design Week 2023 earlier this month, consisting of two dining tables, a low table, a screen, and a wall cladding, as well as the Aquarel artwork and accessories that pair well with the tables. Both dining tables feature a large sculptural, monumental base. The large Living Table Aquarel is made of open-pore, sandblasted, classic Roman travertine with a large rectangular top. Its base comprises four geometric elements in travertine that are perforated by delicate cylinders in pink onyx. The Pierce is a circular table, characterized by its extra-clear glass top on a travertine base perforated by a mint green Onyx cylinder. The Aquarel Low Table also features a circular top, made of Iranian Aquarel white onyx in shades of  pink, peach, and green. A metal, light green tray acts as its base.

wall installation resembling a watercolor painting behind a table with two vessels

Aquarel Paravent is a screen formed by four slabs of Iranian Aquarel white onyx and four slabs of open-pore travertino classico Romano marble, supported by cylinders in Lasa Covelano marble. The volumes of this piece allow the marble and onyx to express their charming unpredictability. The large Tartan wall cladding is inspired by the traditional Scottish fabric, but this dynamic version has been reinterpreted in pastels on a background of Alba Chiara marble featuring green and brick-colored veins.

The installation for the Budri showroom in Milan included a large Aquarel artwork at the entrance to the space. Made using a travertine background, the exercise between using different materials is united by the watercolor shades created by Budri.

wall installation resembling a watercolor painting

“My work is often based on observation. In fact, I am always careful to analyze the material we work with, not only from the point of view of the colors, but also of the emotions it manages to transmit. Observing the slabs of Iranian white onyx and placing my hand behind it, I realized how uneven the transparency of this material is,” shared Alessandra Malagoli Budri, Art Director of Budri. “This apparently negative aspect allowed me instead to experiment with the onyx, drawing inspiration from watercolor painting. In this way, incredible nuances of colors are created, which vary according to the natural cloudiness of this wonderful stone. Inspirations often arise by chance and the most beautiful thing in all of this is discovering the unpredictability of this fantastic material.”

oval-shaped stone table with two armchairs

patterned wall panel

table with marbled pattern and a vessel sitting on top

patterned wall panel

three colorful abstract angular low coffee tables

coral. pink, and milky white stone materials

showroom with ivory sofa and armchair sitting in front of suspended panels of stone material

looking into the Budri showroom from outside at night

looking into the Budri showroom from outside at night

To learn more about the Aquarel Collection, visit budri.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

Interview: Renata Cherlise On Her ‘Black Archives’ Project, the Credibility of Candid Photos, and the Look of Black Joy

Interview: Renata Cherlise On Her ‘Black Archives’ Project, the Credibility of Candid Photos, and the Look of Black Joy

Fishing, 1980. All images reprinted with permission from ‘Black Archives: A Photographic Celebration of Black Life’ by Renata Cherlise, © 2023, published by Ten Speed Press, an imprint of Penguin Random House

Renata Cherlise’s recently released book, Black Archives: A Photographic Celebration of Black Life, makes clear that Black families have potent stories to tell. Cherlise says in a new Colossal Interview:

Spending time with these scenes of everyday life made me feel connected to my ancestors and inspired me to think about photography as a form of individual and collective history. I became interested in images of the Black experience that I had never seen in mainstream media or textbooks—pictures that capture the intimacy, beauty, and nuance of our everyday lives.

There are first dates, barbeques, trips to Paris, holidays. There is togetherness, laughter, love. These photos testify—through changing fashion, hairstyles, automobile models, photo types, and other markers of time—that Black families have always been part of history, and our stories, our celebrations, have always been an integral part of the historical record.

I spoke with Cherlise via e-mail about the origins of her love for family photos, her book project, and why she considers snapshots “the most authentic storytelling medium in the written and visual language.”

Read the interview. 

 

Two young boys are in a living room, one adjusts the television antenna while the other sits on a toy truck looking bored

David and Stephen Hunter

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Interview: Renata Cherlise On Her ‘Black Archives’ Project, the Credibility of Candid Photos, and the Look of Black Joy appeared first on Colossal.

Exploring Life & Legacy of Legendary Photographer Rodney Smith

Exploring Life & Legacy of Legendary Photographer Rodney Smith
Saori on Seaplane Wing by Rodney Smith

“Saori on Seaplane Wing, Dominican Republic,” 2010 (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)
This post may contain affiliate links. If you make a purchase, My Modern Met may earn an affiliate commission. Please read our disclosure for more info.

Across his 45-year career, celebrated fashion photographer Rodney Smith took hundreds of thousands of photos. Most of his whimsical and imaginative imagery was shot on a 35mm Leica M4 before he transitioned to using a medium format Hasselblad. Smith’s work was already celebrated during his lifetime, but after his passing in 2016, it’s only become more clear how strong his contribution was to the history of photography.

His work has now made its way into many public collections, including the Getty Museum. So it’s only fitting that their publishing branch, Getty Publications, should tackle a new monograph that examines his prolific photography career. Rodney Smith: A Leap of Faith, includes many never-before-seen photos from the New Yorker, who regularly contributed to Vanity FairW Magazine, and The New Yorker.

With nearly 200 images, the book is an in-depth look at the photographer who has often been compared to Surrealist painter Rene Magritte thanks to his dreamlike compositions. Getty Museum Curator of Photography Paul Martineau, who authored the volume, shares, “Like Lewis Carroll’s Alice in Wonderland, his photographs lead us down the rabbit hole to a fantastical place that is just beyond our reach but one intended to inspire us to be better versions of ourselves.”

At the same time, Martineau also appreciates Smith’s uncanny ability to create perfectly balanced imagery. He tells My Modern Met, “The work is perfectly composed, and his later pictures demonstrate great sophistication in terms of his color relationships.”

Rodney Smith: A Leap of Faith details the photographer’s trajectory, which took him from street photography to corporate photography to the fashion imagery that he’s most well-known for. The book also investigates Smith’s personal life and character, particularly how his privileged, lonely upbringing manifested itself in his creative tendencies. “Smith often stated that photography saved his life,” Martineau shares. “I hope people will be intrigued and impressed by the somewhat tortuous trajectory of Smith’s personal and artistic journey.”

With text by Martineau, as well as essays by Rebecca A. Senf from the Center for Creative Photography and former Vanity Fair editor Graydon Carter, the book is a well-rounded look at Smith’s creative and technical genius. The book, which comes out May 16, is now available for pre-order.

Rodney Smith: A Leap of Faith is a new monograph about the work of acclaimed fashion photographer Rodney Smith.

Rodney Smith Leap of Faith Book CoverRodney Smith Leap of Faith Book Cover

The book includes nearly 200 images, many of which have never before been published.

Rodney Smith Self Portrait with LesleyRodney Smith Self Portrait with Lesley

“Self-Portrait with Leslie, Siena, Italy,” 1990. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

Through text by Getty Museum curator Paul Martineau and others, the book is an illuminating look at the work of the whimsical, imaginative photographer.

Twins in the Tree by Rodney SmithTwins in the Tree by Rodney Smith

“Twins in the Tree, Snedens Landing, New York,” 1999. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

Don Jumping Over Hay RollDon Jumping Over Hay Roll

“Roll No. 1, Monkton, Maryland,” 1999. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

The book, which comes out May 16, is now available for pre-order.

AJ Chasing Airplane by Rodney SmithAJ Chasing Airplane by Rodney Smith

“A.J. Chasing Airplane, Orange County Airport, New York,” 1998. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

Saori and Mossimo Holding Hands by Rodney SmithSaori and Mossimo Holding Hands by Rodney Smith

“Holding Hands, Amalfi, Italy,” 2007. (Photo: © 2023 Rodney Smith Ltd., courtesy of the Estate of Rodney Smith)

My Modern Met granted permission to feature photos by the J. Paul Getty Trust.

Related Articles:

Rodney Smith Website Honored at 25th Webby Awards

Interview: The Illustrious Career of Photographer Rodney Smith

A Look at the Magical World of Iconic Photographer Rodney Smith

Legendary Rodney Smith’s Whimsical Nature Photography Honored in Upcoming Exhibition

Questions over accounting and inclusion mar Guyana’s unprecedented carbon scheme

Questions over accounting and inclusion mar Guyana’s unprecedented carbon scheme
  • Guyana has put nearly all the forests in the country on the carbon market, allowing it to sign a carbon credit deal with petroleum company Hess Corporation worth $750 million, with 15% of funds going to Indigenous communities.
  • However, some climate experts have questioned how ART, the independent carbon credit issuer, calculates the emissions reductions for forests that are already intact and under little threat of deforestation, saying they’re vastly overstated and bending the rules to create money.
  • Indigenous organizations also disagree about whether they were properly and legally consulted before all their lands were put onto the carbon market.
  • ART maintains that its methodology for calculating carbon reduction is conservative and important to protect intact forests, while the government insists that it properly consulted Indigenous leaders before it included their forests in the carbon scheme.

In part of the world’s first nationwide distribution of carbon credits, the government of Guyana announced Indigenous communities will receive millions as it signed off on a $750 million carbon credit sale to petroleum company Hess Corporation. The deal, however, has spurred a series of mixed feelings and major accusations.

Some climate experts and Indigenous leaders are raising serious questions over whether the carbon credit scheme accurately accounts for carbon emissions reductions and if communities were legally consulted before nearly all the forests in the country were put onto the carbon market.

“If you offset an emission with something which is not an emission reduction then you have no climate benefit,” Charlotte Streck, director at Climate Focus, told Mongabay.

Streck is part of a coalition of climate experts who warn that the methodology used in this program to calculate the carbon storage of forests and generate corresponding credits for entities seeking to compensate for (“offsetting”) their emissions is vastly overstated. “Hess, the global oil and gas company with oil exploration concessions in Guyana, now claims the credits help the company achieve its net-zero greenhouse gas emissions by 2050.”

ART, the independent institution that issued the credits under its TREES framework, said in a statement that the process to develop the credits was rigorous, transparent, consultative, and an important means to provide climate funding for countries and Indigenous communities already protecting high-conservation-value forests.

[embedded content]

Forest finance quickly becomes an alphabet soup that can be forbidding to the uninitiated. Here are some key terms.

REDD+ is the name of the overall strategy for “reduced emissions from deforestation and forest degradation.” The U.N.-backed initiative pays developing countries to slow forest destruction and enhance forest carbon stocks.

ART is an institution. It means “Architecture for REDD+ Transactions” and was established in 2018 to produce a viable standard for REDD+ carbon credits at a jurisdictional scale. It is backed by Norway and runs as an independent organization within the nonprofit Winrock International. It has a secretariat, a board, and technical committees staffed by many of the world’s leading experts on deforestation and forest finance.

TREES is the framework and means “the REDD+ Environmental Excellence Standard” and is ART’s reason for existing, and seeks to lay down rigorous, clear guidelines for quantifying, monitoring, and verifying carbon credits across large swaths of land.

This week, disagreements over the monumental carbon deal also reached a new height when an Indigenous human rights group, the Amerindian People’s Association (APA), filed a formal complaint to ART over Guyana’s carbon credit scheme for lack of consultation. This is contrary to the support for the carbon scheme by the National Toshaos’ Council (NTC), a representative body in the country for all toshaos (Indigenous village leaders) who are elected by their village councils.

“I think [this deal] means a lot because we only have 12% of the population, but we are getting 15% [of the money from the agreement],” said Derrick John, the NTC chair. “I don’t see any risk because the government won’t be taking back any resources, whether it’s our land or forests. So, we’re gaining from it.”

In total, Guyana will receive at least $750 million until 2030 from its deal with Hess. Of this, 15% is earmarked for Indigenous communities for Village Sustainability Plans, community-led investment plans on infrastructure, livelihood, environment and more. The first payment to communities, split in a series with more to come, is $22.5 million. Indigenous communities will also receive support through multi-community and national programs, including $13.3 million for the Indigenous land titling program.

Mahdia, Guyana. Image by Wikimedia Commons.

The government announced that the country achieved net-zero carbon emissions last year through its vast swaths of Amazon Rainforest that serve as carbon sinks. Now, all the South American nation’s remaining forested areas are on the carbon market for companies to achieve their net-zero emissions and offsetting ambitions, Pradeepa Bholanath, senior director for climate and REDD+ at the Ministry of Natural Resources, told Mongabay.

Forests included in the carbon credits to be issued total 18 million hectares (44 million acres), including 2.2 million hectares (5.4 million acres) of currently titled Indigenous lands. Hess has purchased roughly a third of these credits.


Read more: Carbon offsets: A key tool for climate action, or a license to emit?


2 + 2 = 5?

Guyana has the world’s fastest-growing economy in large part due to massive offshore oil deposits discovered in recent years and the dramatic rise in oil prices. Hess has major interests in the country’s oil reserves, as does ExxonMobil, which indicated it may also consider purchasing carbon credits from the country. But the government has played down the dissonance between being a growing oil-producing nation and its emissions reduction goals, attributing it to its oil revenue that can be directed to the green economy and its vast, intact forests that capture and store carbon.

However, the problem for climate experts critiquing the credit scheme is that the country’s forests are in fact, intact.

The South American nation has some of the best-preserved forests in the world, with little history of deforestation. ART has placed it among a handful of countries, like neighboring Suriname and, in Africa, Gabon and the Republic of Congo, as states that enjoy high forest cover and low deforestation (HFLD).

The Liza Unity FPSO destined for the ExxonMobil-operated Liza field development in Guyana. Image by SBM Offshore.
The Liza Unity FPSO destined for the ExxonMobil-operated Liza field development in Guyana. Image by SBM Offshore.

Carbon credits are generated from projects that aim to prevent the loss of existing carbon sinks, often forests. The number of credits made available (measured in metric tons of CO2) is thus dependent on how much of this carbon-sequestering capacity is saved from being lost.

But as intact forests within HFLD states aren’t under imminent threat of deforestation, the experts argue that HFLD credits don’t represent additional climate action or advertised emissions reductions.

“A high-quality carbon offset project must have an exclusive claim to its greenhouse gas reductions, meaning the reductions would not have happened without the project,” Robert Nasi and Pham Thu Thuy, senior forestry scientists at CIFOR-ICRAF, wrote in a Mongabay commentary about the latest controversies surrounding the carbon market. This is known as “additionality” because the emissions reductions, in this case the protection of forests, would not have happened without carbon offset credits. Typically, this means that the project prevents imminent deforestation from occurring.

Traditionally, carbon credits issued for REDD+ efforts (reducing emissions through deforestation and degradation) estimate emissions cuts by comparing historical levels of deforestation in a region with imminent deforestation. HFLD regions, however, allocate additional carbon credits that go beyond this baseline. By crediting and counting the protection of what already exists as carbon reductions, it jeopardizes the math on true global carbon emissions, reductions and meeting climate goals, critics say.

They therefore shouldn’t be eligible for carbon market finance, otherwise they can seriously undermine carbon markets, Streck told Mongabay.

The HFLD carbon crediting approach adds a 0.05% adjustment of the forest’s carbon stock into the calculation on top of the regular crediting calculation. The ART board argues that this adjustment is very conservative and is required to consider knock-on degradation and past removals associated with forest loss.

Kaieteur Falls, Guyana. Image by Wikimedia Commons.
Kaieteur Falls, Guyana. Image by Wikimedia Commons.

In Guyana’s case, about 84% of the 33.5 million jurisdictional ART credits issued between 2016 and 2020 result from this HFLD adjustment, the coalition of experts has calculated. “Without the HFLD adjustment, emissions reductions would have totaled 5.3 million [credits], based solely on avoided emissions for forests under more imminent threat.”

Hess is purchasing 37.5 million ART-issued credits (the total from 2016 to 2030), with each credit representing the equivalent of 1 metric ton of CO2 emissions. To date, Hess has bought $112.5 million worth of credits from the government.

A statement by the ART board argues the situation in and near these intact forests is changing rapidly as global demand for agricultural commodities, timber and infrastructure continues to drive forest loss and degradation. These forests are therefore in need of mechanisms to ensure their continued protection and it’s important to reward the historical performance of Indigenous communities in protecting and maintaining their HFLD status, the board said.

“Market solutions must urgently begin to incentivize action to protect forests without a significant history of deforestation,” the Wildlife Conservation Society (WCS), Rainforest Foundation Norway and Re:wild said in a joint statement to Carbon Pulse on the controversy.

Several youths engaged in a game of cricket at the waterfront area of Kwebana. Image courtesy of Alva Solomon.

In line with the carbon scheme, Guyana will have to mitigate the drivers of deforestation and support the maintenance of low deforestation rates, including implementing forest monitoring systems and policies for improved forest governance.

Streck from Climate Focus said she agrees with the board that climate finance is needed to protect high-integrity forests and that there’s been an international failure in rewarding these regions. However, she said the problem arises when carbon market rules are bent to create that money.

“The integrity of carbon markets is a good that needs to be protected for this market to be solid,” she said. As a solution, projects should use a creditable, regional calculation that avoids financial and private sector incentives to inflate them. She noted the projects with higher confidence are reforestation credits by community reforestation and agroforestry projects.

Mongabay requested a comment from Hess, which responded with a December 2022 press release announcing the deal to purchase the credits from the Guyana government.

“It’s probably a little unpalatable that it’s an oil company buying the credits,” said Josh Lichtenstein, program manager at the NGO Rainforest Foundation US, which has been working in Guyana for the past 20 years and is a partner of the APA. “But the idea that there’s private sector funding going into this market, I think they [policymakers] all feel very positive.”

Lichtenstein told Mongabay that policymakers are pushing for more climate funding from voluntary carbon markets and the private sector because there’s not enough public finance to meet the Paris Agreement goal of keeping global temperatures below 1.5° Celsius (2.7° Fahrenheit) of pre-industrial levels.

“The goal … is to combat the climate change effect without undermining the rights of Indigenous peoples and local communities,” Lichtenstein said.

A jaguar (Panthera onca), one of the many animals found in Guyana’s forests that are protected through sustainable logging. Image by Steve Winter/Panthera.

Read more: Forest carbon offsets are a tool, not a silver bullet (commentary)


Consulting the right Indigenous groups?

But Indigenous groups in Guyana are not all in agreement about whether their rights are being protected, sparking a tense disagreement between some of the country’s largest Indigenous bodies: the NTC, representing the country’s elected toshaos, and the APA, an Indigenous human rights organization. Even Vice President Bharrat Jagdeo has waded into the disagreement, issuing a statement condemning the formal complaint letter by the APA about the carbon scheme and bringing into question the APA’s motives and representation of Indigenous peoples.

In July 2022, all 170 elected toshaos engaged with the country’s 2030 low carbon strategy team, which included discussion on agreements like the Hess deal, said Bholanath from the ministry of natural resources.

“A resolution was passed, with no objection [by the NTC] which endorsed the [strategy] inclusive of all its elements,” she said.

Bholanath added there were consultations conducted with the government, private sector and civil society, including the APA and other Indigenous groups, on issuing and marketing carbon credits. There has also been broad support from across society for such a program, she told Mongabay.

Monkey Mountain Village, Guyana. Image by Cameron Ellis, Rainforest Foundation US.
Monkey Mountain Village, Guyana. Image by Cameron Ellis, Rainforest Foundation US.

“We are the legal representatives,” said the NTC’s John. “Our people democratically elected us in our office … the NTC have membership in all 200 and odd communities. We are directly linked to these communities through our membership.”

However, Laura George, governance and rights coordinator at the APA, said toshaos don’t have the authority to sign off on such a deal, and that therefore it can’t be said to have obtained the free, prior and informed consent of all villages in Guyana that didn’t properly engage on the deal. This authority falls under the Village General Meeting (VGM), she said, which is the highest decision-making forum of any community.

Guyana’s Amerindian Act doesn’t give the NTC any governance authority or any other authority to make decisions on behalf of Indigenous peoples and their lands, the APA said in its complaint letter sent to the ART secretariat last month. At most, its functions involve providing advice and guidance to the Ministry of Amerindian affairs, George said, disagreeing with the vice president’s interpretation of the act.

“Who decided that 15% of any royalties that we get from the carbon trade would be OK for us? Because we have not been consulted on it,” she said.

The letter requested the ART secretariat and board freeze and suspend the credits issued to Guyana that have not yet been purchased and to not issue more until the problems they raised have been addressed.

Guyana lies at the heart of the Guiana Shield, one of the most biodiverse regions on the planet. Photo by Tom Vierus / Urgewald.

The ART secretariat told Mongabay that per its standard, this complaint process will not impact the credits already issued to the government of Guyana. However, as the agreement by the NTC is fundamental, if the NTC were to change its mind, the credits relating to Indigenous lands would be subtracted from the total carbon credits available.

Levi Sucre Romero, an Indigenous Bribri leader and co-chair of the Global Alliance of Territorial Communities (GATC), told Mongabay that he and other Indigenous leaders engaging with ART were also surprised to see the carbon credits launched in Guyana. He said they had a verbal agreement with representative at ART TREES to collaboratively build an additional layer to their standards to ensure the identification of Indigenous rights and full and effective participation of Indigenous peoples.

“They went off on their own to do certifications which then generates these kinds of problems like what happened in Guyana,” Sucre said. “And that’s exactly what we want to avoid.”

Aster Global, the auditor of the carbon credits issuing process, was not available for comment. But in an observation, the auditor said that endorsement by the NTC is a key aspect of the deal. The carbon credit deal meets all requirements of ART TREES without any qualifications or limiting conditions, it added.


Banner image: Spangled cotinga in Guyana. Image by Mathias Appel via Flickr (CC0 1.0).

Related listening from Mongabay’s podcast: We discuss what makes for successful mangrove restoration projects and the inclusion of Indigenous and local community rights in carbon offset schemes. Listen here:

Oil production or carbon neutrality? Why not both, Guyana says

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A Review of the Nikon Z 7II Mirrorless Camera for Landscape

A Review of the Nikon Z 7II Mirrorless Camera for Landscape

With a 45.7-megapixel sensor and a lot of dynamic range, the Nikon Z 7II mirrorless camera looks like a strong candidate for a lot of landscape photographers. How does it hold up in practice? This great video review features an experienced landscape photographer discussing his thoughts months after switching from a medium format setup. 

Coming to you from Thomas Heaton, this awesome video review takes a look at the Nikon Z 7II mirrorless camera for landscape photography. The Z 7II comes with a nice range of features, including:

  • 45.7-megapixel BSI CMOS sensor
  • No optical low-pass filter for higher levels of detail
  • 5-axis in-body Vibration Reduction
  • Low native ISO of 64
  • 4K video at up to 60 fps with external 10-bit N-Log and HLG
  • 493 phase-detection autofocus points
  • Eye-Detect AF for both people and animals
  • Dual memory card slots (one CFexpress Type B and one SD UHS-II slot)
  • 3.6-million-dot OLED electronic viewfinder
  • 3.2-inch, 2.1-million-dot tilting touchscreen
  • 10 fps continuous burst rate
  • Long exposure times of up to 15 minutes 
  • Magnesium alloy body with dust- and weather-resistance for working in inclement conditions

While not perfect, the Z 7II certainly produces high-quality images and ticks a lot of boxes for landscape work. Check out the video above for Heaton’s full thoughts on the camera.