Omar Zaki wrote in his article Sudan: Gadalla Gubara - a Forgotten Filmmaking Legend: "Gubara and fellow scriptwriter Kamal Ibrahim, were the only cameramen to record Sudan's Independence on January 1st 1956. He captured the symbolic moments when democratically elected Prime Minister Ismail Al-Azhari walked from the parliament to the presidential palace and replaced the British and Egyptian flags with the blue, gold, and green flag of Sudan." - See Zaki, Omar (14 September 2012). "Sudan: Gadalla Gubara - a forgotten filmmaking legend". All Africa. Retrieved 13 December 2019.
"I want to be visible". Arab Documentary Photography Program. Retrieved 26 November 2019.
aramcoworld.com
In his article "Capturing the light of the Nile" about the earliest photographs taken in Egypt, Jeff Koehler makes the following remarks about the photographic technology of the late 19th century: "The technology continued to improve and diversify, and the paper negatives were soon superseded by glass ones in the wet-collodion process that combined the sharpness of daguerreotypes with the reproducibility of calotypes." See Koehler 2015, in the section 'Further reading'
In their book, The Sudan: Photographs from the Sudan Archive, the authors have published 240 photographs, presenting "events of historical or military significance, feats of engineering, and the daily life and recreation of the Sudanese and their temporary rulers." Daly, M. W.; Forbes, L. E.; Archive, Durham University Library Sudan (1994). The Sudan: photographs from the Sudan Archive, Durham University Library. Garnet Publishing. ISBN978-1-873938-94-2.
In the book Felice Beato: A photographer on the Eastern Road, the authors give the following short account: 1885 - Beato travels to the Sudan to photograph the events of the Mahdist rebellion against the British, but arrives three months after the major events. On April 30, he meets Lord [Baron] G.J. Wolseley onboard ship from Suez to Suakim. (sic) He documents Wolseley's expedition to Suakim to superintend the withdrawal of the troops. Lacoste, Anne; Beato, Felice; J. Paul Getty Museum (2010). Felice Beato: A photographer on the Eastern Road. Getty Publications. p. 186. ISBN978-1-60606-035-3.
Trémaux, Pierre. Voyage en Éthiopie, au Soudan Oriental et dans la Nigritie, Vol. 2: Le Soudan, textes de l'Atlas, Paris, Hachette 1862. - For a discussion of his photographs, see Addleman-Frankel, Kate (2018). "The Experience of Elsewhere: Photography in the Travelogues of Pierre Trémaux". Photographies. 11 (1): 31–56. doi:10.1080/17540763.2017.1399287. S2CID192293462.
Before taking his plane, Carter told Silva: "You won't believe what I've just shot! … I was shooting this kid on her knees, and then changed my angle, and suddenly there was this vulture right behind her! … And I just kept shooting – shot lots of film!"
Then Carter told him that he had chased the vulture away. He told Silva he was shocked by the situation he had just photographed, saying, "I see all this, and all I can think of is Megan", his young daughter. A few minutes later, they left Ayod for Kongor. - In 2011, the child's father revealed that the child was actually a boy, called Kong Nyong, and had been taken care of by the UN food aid station. Source: Rojas, Alberto (21 February 2011). "Kong Nyong, el niño que sobrevivió al buitre = Kong Nyong, The boy who survived the vulture". El Mundo (in Spanish). Archived from the original on 30 June 2017.
elnour.org
Iverné, Claude (2015). "Gadalla Gubara". elnour.org. Retrieved 27 May 2020.
"Salma Alnour". Salma Alnour. 13 October 2015. Retrieved 26 November 2019.
semanticscholar.org
api.semanticscholar.org
Trémaux, Pierre. Voyage en Éthiopie, au Soudan Oriental et dans la Nigritie, Vol. 2: Le Soudan, textes de l'Atlas, Paris, Hachette 1862. - For a discussion of his photographs, see Addleman-Frankel, Kate (2018). "The Experience of Elsewhere: Photography in the Travelogues of Pierre Trémaux". Photographies. 11 (1): 31–56. doi:10.1080/17540763.2017.1399287. S2CID192293462.
In an article about the exhibition "The Khartoum School: the making of the modern art movement in Sudan (1945–present)" in Sharja, UAE, 2017, the author writes about photography in Sudan: "The exhibition highlights the work of two pioneer master-photographers, Rashid Mahdi and Gadalla Gubara, as well as other studio photographers, for example, Abbas Habib Alla, Mohamed Yahya Issa, Fouad Hamza Tibin, Osman Hamid Khalifa, Omar Addow, Richard Lokiden Wani and Joua, in the context of the historical linkages between photography, decolonisation and self-representation." Source: "The Khartoum School: the making of the modern art movement in Sudan (1945–present)". Sharjah Art Foundation. Retrieved 24 May 2020.
Before taking his plane, Carter told Silva: "You won't believe what I've just shot! … I was shooting this kid on her knees, and then changed my angle, and suddenly there was this vulture right behind her! … And I just kept shooting – shot lots of film!"
Then Carter told him that he had chased the vulture away. He told Silva he was shocked by the situation he had just photographed, saying, "I see all this, and all I can think of is Megan", his young daughter. A few minutes later, they left Ayod for Kongor. - In 2011, the child's father revealed that the child was actually a boy, called Kong Nyong, and had been taken care of by the UN food aid station. Source: Rojas, Alberto (21 February 2011). "Kong Nyong, el niño que sobrevivió al buitre = Kong Nyong, The boy who survived the vulture". El Mundo (in Spanish). Archived from the original on 30 June 2017.
