Posts Tagged ‘awards’

Photoshopping Herodotus

Saturday, March 6th, 2010

Last week I read that a new biography of Ryszard Kapuscinski, the great Polish Foreign correspondent, had accused him of inventing a good deal of his work. The biographer, Artur Domoslavski, observes that Kapuscinski “consciously built on his status as a legend” and “extended the boundaries of reportage far into the realm of literature”. I read this in Delhi online and, somehow the process of reading these allegations on a computer screen made me smile with irony. It made me think just how far we think we’ve come in journalism and reporting but perhaps just how little we’ve progressed. Let me explain.

I have few heroes in photography, but I held people like Kapuscinski, like Chatwin and Lewis et al as great writers that I could read as much for pleasure as literal accuracy. I don’t read Polish and so the details of Domoslavski’s allegations are a little hard to substantiate but they are not new. There has been a great deal written about Kapuscinski in the last decade: how he was a spy, how he was a womaniser. Much of it to me smacks of a jealousy and a pettiness and the disturbing tendency in modern life to have an icon to smash. We live in a celebrity culture controlled by big business and advertisers that have a financial stake in selling things – people – as commodities. That requires constant banality and revision. This week, ‘failed celebrity actress recovers from drugs’. Next week, ‘failed celebrity actress caught having an affair’. Orwell called it Prolefeed. What all the commentators have failed to mention is that Kapuscinski, when not filing tight wire reports for the Polish news service, was working within the tradition of his own hero, Herodotus, whose books he kept close by for all of his career. Herodotus drew upon an earlier oral tradition of story-telling and interpreting the world from his travels. Sometimes, he wasn’t strictly accurate (‘dog headed men, gold digging ants and flying snakes’ spring to mind) but that wasn’t necessarily the point. The Histories are as much about him as they are the events that he describes: he was interpreting the world politically through the prism of the mid fifth century BC. Kapuscinski was writing during the Cold War and cleverly subverting his masters when he was able to by speaking directly of the warmth and humanity of those people that he met. We are all constructs of our position on time. Plutarch‘s description of Herodotus’ work is vicious:

“He’s a dangerous Barbarian lover (a great heresy at the time) who praises foreigners and denigrates the most ‘solemn and holy truths of Greek religion with Egyptian humbug and fairytale”.

and of course misses the point entirely. Kapuscinski, like Herodotus was evidently no saint – it may be that he polished quotes, ‘tidied’ sentences but I wonder if that mattered: he was writing what he called ‘literary reportage’. It’s a way of understanding the world – to be able to breathe others’ air – you’re meant to believe what you are being told, but not in every literal detail. What we know for certain is that the world has lost a great reporter and a great writer: a man that suffered terrible hardship and was a conduit for the story of the later half of the twentieth century through his travels.

Which brings me back to the title of this post. Last week a photographer, Stepan Rudik was disqualified from the World Press Photo competition for altering an image. Rudik photoshopped out an offending foot from a frame but he also savagely cropped the picture and converted it to black and white. To be fair,  it isn’t a million miles away from what Eugene Smith did with his Haiti pictures – except perhaps in intention. Smith was working in not a disimilar way to Kapuscinski – attempting to change the world by showing itself to itself (albeit with some literary license). Rudak was trying to win a prize which has somehow (and very sadly) become the defining element of a successful photojournalistic career. My contention here is not that Rudik was wrong or right (and I honestly feel rather sad for him) but that as photography and journalism stumbles further into the abyss of uncertainty and change, the move by the World Press jury looks a little like closing the stable door after the horse has bolted. As photography is neutered by loss of magazines, funding and status, the industry relies increasingly on young freelancers with digital cameras to cover the world. Cheaply. Perhaps it’s my age but I see an erosion of professional standards, ethics and training. As a young photographer I aspired to those in Magnum, Network, Rapho, Gamma etc: the business was difficult to break into and there were identifiable mentors. No longer. It’s a free for all. We’re all journalists now and as far as I can see, there’s an ocean of visual mediocrity masquerading as the best of photojournalism – heavy post-production, a snapshot aesthetic. Easy frames – boring frames. There’s an army of young photographers treating the Developing world as an extended gap year in which to launch their careers into a media that they have no understanding of. Wars in Iraq and Afghanistan have meant a generation covering war by treating ’embedding’ as the norm.

Of course we get the industry that we deserve in a way. If we clamour for the pap of celebrity then we shouldn’t be surprised if journalistic standards fall. That’s why this is a defence of Kapuscinski. As a master storyteller he was entirely aware of what he was doing but had the intellectual rigour to understand the context that he was working within. It’s a lesson that photographers more than ever need to learn.

Virgins, virgins everywhere…

Friday, October 16th, 2009

I happened quite by chance the other day to look at the winners of the Eugene Smith Award and noticed that one of the runners up had made a set on a story that I wrote and photographed for the Independent Magazine more than a dozen years ago (the article’s here). It firstly made me feel a little ancient but also made me think about the crisis in photography that we now find ourselves in. I’d recently read a comment by Christopher Anderson on the Conscientious blog that made complete sense to me. Anderson, who has been sharply criticised for his thoughts, has bemoaned the state of the industry and – shock, horror – has decided that he no longer wants to be known as a ‘photojournalist’ (whatever that is). What he said was this:

“…The death of journalism is bad for society, but we’ll be better off with less photojournalism. I won’t miss the self-important, self-congratulatory, hypocritical part of photojournalism at all. The industry has been a fraud for some time. We created an industry where photography is like big-game hunting. We created an industry of contests that reinforce a hyper-dramatic view of the world. Hyperbole is what makes the double spread (sells) and is also the picture that wins the contest.”

I am certainly not criticising anyone who enters competitions, nor am I making any statement about the specific Virgins story, but whether we like it or not it’s clear that we are, and for some time have been in a mess. I remember Neil Burgess several years ago bravely saying that it was now impossible to fairly judge the World Press Photo as there were just so many entries and it was clear that people were shooting certain types of stories that were dramatic and would stand a greater chance of winning. Indeed a few years ago, if you shot Chinese child gymnasts being stretched in training you were almost certainly going to win something…

When I started, I knew nothing about competitions, awards and such like. I just wanted to work, make pictures and have magazines run my stories. The world has changed significantly form what seems those simpler times (although cvertainly not some mystical Golden Age) and winning things is now part of your ‘brand’, something to put on your website and blog and advertise yourself with. Shocking really when you think of much of the subject matter. But this is increasingly an industry running scared and my little rant is going to make no difference – especially to photographers that would sell their grandmother (or a few starving people in the Developing World) to work (for hire, for free, for a bad contract, just to see their work in print) and screw everyone else.

Anyway, have a look at the Eugene Smith stuff, there’s some interesting pictures. I’m going for a lie-down as my blood pressure’s up.

Here are some images from my Avowed Virgins story…

Albania - Lepurush Village - Selman Brahim has been living as a man for 40 years after the family's eldest son died. In the Albanian tradition of the Avowed Virgin ('Virgjineshe' or 'Sworn Virgins'), authorised by the Kanun of Lek (an ancient system of laws) she/he now leads the family as a man.

Albania - Lepurush Village - Selman Brahim has been living as a man for 40 years after the family's eldest son died. In the Albanian tradition of the Avowed Virgin ('Virgjineshe' or 'Sworn Virgins'), authorised by the Kanun of Lek (an ancient system of laws) she/he now leads the family as a man.

Albania - Thethi - The 'Accursed Mountains of Northern Albania. The harsh and unforgiving landscape of hills is renown for outlaws and bandits and is mentioned by the explorer Edith Durham in her seminal work "High Albania" (1909). The land is still governed by the ancient Kanun of Lek and blood feuds are still common.

Albania - Thethi - The 'Accursed Mountains of Northern Albania. The harsh and unforgiving landscape of hills is renown for outlaws and bandits and is mentioned by the explorer Edith Durham in her seminal work "High Albania" (1909). The land is still governed by the ancient Kanun of Lek and blood feuds are still common.

Albania - Thethi - Pashke Sokol Ndocaj sits with the men and a female neighbour in their village. Since the death of her father and brothers, Pashke has lived as a man in the ancient traditions of Avowed Virgins of Albania, where women 'become' men to head the family and renounce their former sex

Albania - Thethi - Pashke Sokol Ndocaj sits with the men and a female neighbour in their village. Since the death of her father and brothers, Pashke has lived as a man in the ancient traditions of Avowed Virgins of Albania, where women 'become' men to head the family and renounce their former sex

Albania - Thethi - Pashke Sokol Ndocaj with a  neighbours child. Since the death of her father and brothers, Pashke has lived as a man in the ancient traditions of Avowed Virgins of Albania, where women 'become' men to head the family and renounce their former sex

Albania - Thethi - Pashke Sokol Ndocaj with a neighbours child. Since the death of her father and brothers, Pashke has lived as a man in the ancient traditions of Avowed Virgins of Albania, where women 'become' men to head the family and renounce their former sexAlbania - Lepurush Village - Selman Brahim has been living as a man for 40 years after the family's eldest son died. In the Albanian tradition of the Avowed Virgin ('Virgjineshe' or 'Sworn Virgins'), authorised by the Kanun of Lek (an ancient system of laws) she/he now leads the family as a man. She/he is seen here with her sister's grandchild and a picture of him/her as a younger person

Albania - Lepurush Village - Selman Brahim has been living as a man for 40 years after the family's eldest son died. In the Albanian tradition of the Avowed Virgin ('Virgjineshe' or 'Sworn Virgins'), authorised by the Kanun of Lek (an ancient system of laws) she/he now leads the family as a man. She/he is seen here with her sister's grandchild and a picture of him/her as a younger person

Albania - Lepurush Village - Selman Brahim has been living as a man for 40 years after the family's eldest son died. In the Albanian tradition of the Avowed Virgin ('Virgjineshe' or 'Sworn Virgins'), authorised by the Kanun of Lek (an ancient system of laws) she/he now leads the family as a man. She/he is seen here with her sister's grandchild and a picture of him/her as a younger person