Paolo Pellegrin is one of the most successful photographers working today. He works with the most high-profile magazines, he publishes books, is a member of the most prestigious photo agency (Magnum), contributes to interesting projects and regularly wins major contests. So naturally, he?s easy enough to hate.
Still, until his work was called into question last week by BagNews Notes, it?s fair to say he was also widely respected.
Predictably, Pellegrin is catching most of this heat from people he doesn?t know, while receiving most of his support from people he does. Which makes me wonder, not knowing him, but having admired his work for a long time and owning at least one of his books (maybe more), what kind of advice I would have given him last Friday when the story first broke. Continue reading “Just Make It Happen: Kenneth Jarecke on Paulo Pellegrin's award winning photo on WPP contest”
Rural Visual Journalism Network launched in Bangladesh
Dhaka, 26 November, 2012: Drik held an interactive global dialogue today, with media leaders looking at the potential of New Media and the creation of content to suit the evolving market place. Saiful Islam, CEO Drik in his welcome address stressed the importance of moving into the global market place with products using new media, citing the twitter book as an example of new forms of publishing.
A young girl passes the body of a man assassinated in Cucuta, Colombia. The city has suffered a wave of killings at the hands of the United Self-Defence Forces of Colombia (AUC), a right-wing paramilitary group. The killings continue even months after the AUC supposedly disarmed in the Cucuta region as part of peace negotiations with the Colombian government. 9 March 2005. ? Stephen Ferry.
World Press Photo and Human Rights Watch are calling on photojournalists and press photographers to apply for the second Tim Hetherington Grant, worth ?20,000. Tim was a former tutor at Pathshala and participated in Chobi Mela
Majority World photographer from India, Salil Bera wins an honourable mention in the?Spot News, singles category with the following image:
Salil is a senior photographer for The Week Magazine in Kolkata, India. He won the first prize in FCCT in Bangkok, and his photographs has been selected in Sony World photography contest in Professional category.
via?World Press Photo.
It feels strange to be called a ‘master’ when the ‘students’ are such hugely talented photographers. When it includes the inimitable grandmaster David Burnett in our midst the discomfort is complete. ? Jan Grarup
It was a delight to be in his company again. Though I’ve always enjoyed his images, and we’ve been co-jurors of WPP, this was the first time we’d spent so much time together. The poster for the first ever Chobi Mela in 2000, with his iconic image of the Muktibahini, still hangs on Drik’s corridor. Poor Munem Wasif travelled all the way to Amsterdam only to find his bearded tutor again. ? Sirio Magnabosco
But the pleasure of such company, the energy within those four walls and the sheer joy of seeing such wonderful images, made up for any qualms I might have had. David’s presentation was humbling. It’s candor, its warmth, the enormous breadth of his work and the unquestionable quality of the photography left me breathless. ? David Burnett/Contact Press Images. Design Reza/Drik
The WPP awards for Christoph, C?dric and Rafel that came in yesterday, was a welcome bonus, but an expected one. This was photography at its finest and despite the vagaries of judging and the imperfections of any selection process, photography such as this must surely rise to the surface.
Oh to be a student again! ? C?dric Gerbehaye, Belgium, Agence Vu. Congo in Limbo. General News, 3rd Prize Stories. WPP contest 2007
? Rafal Milach, Poland, Anzenberger Agency. Retired circus artists, Poland. Arts and Entertainment, 1st Prize Stories. WPP contest 2007
Even after years of playing Pied Piper with a camera, I am still taken aback by children insisting on being photographed. It was September 1988, and we had had the worst floods in a century. These people at Gaforgaon hadn’t eaten for three days. A torn saree strung across the beams of an abandoned warehouse created the only semblance of a shelter. Their homes had been washed away. Family members had died. Yet the children had surrounded me. They wanted a picture.
It was dark in that damp deserted warehouse, but the broken walls let in wonderful monsoon light, and they jostled for position near the opening. It was as I was pressing the shutter that I realised that the boy in the middle was blind. He had pushed himself into the centre, and though he wasn’t tall he stood straight with a beaming smile.
Clip on story of the blind child, from keynote presentation on citizen journalism at 50th Anniversary of World Press Photo in Amsterdam.
I’ve never seen the boy again, and today I question the fact that I do not know his name. But he has never left my thoughts and often I have wondered why it was so important for that blind boy to be photographed.
It’s happened elsewhere, in boat crossings at the river bank. In paddy fields heavy with grain, in busy market places. A shangbadik (literally a journalist, but in practice any person with a half decent camera) was hugely in demand. They refused to take the fare from me at the ferry ghat. Opened up their hearts and told me their most personal stories. Confided their secrets, shared their hopes. Never having deserved such treatment it has taken a while for me the photographer, to work out why being photographed meant so much to that blind child.
The stakeholders of Bangladeshi newspapers are the urban elite. Consequently stories from the village are about the exotic and the grotesque. Village people exist only as numbers, generally when plagued by some disaster and only when figures are substantial. A photograph in a newspaper, regardless of how token the gesture, is the only time a villager exists as a person. A picture on a printed page would have lifted that blind boy from his anonymity. That humbling thought stays with me whenever I am feted as a shangbadik in some small village. I receive their gift of trust gently, careful not to break the delicate contents.
It was as a photographer of children that I had begun my career. It was way before 9/11 and one could make appointments with strangers and go to their homes. I took happy pictures of kids, and parents loved them. It was easy money, except when I would photograph the children of poor parents. They loved the pictures but couldn’t afford to pay, so I would quietly leave the pictures behind and pay the studio out of my pocket. Back in Bangladesh, the only way I could make money was as a corporate photographer, but something else was happening. We were in the streets, trying to bring down a general who had usurped power. I didn’t know it then, but I was becoming a documentary photographer. Suddenly taking pictures of children meant more than smiling kids on sheepskin rugs.
As the pressure against the general mounted, I photographed children who joined the processions. The night he stepped down, I photographed a little girl with a bouquet of flowers. She was out with her dad in the middle of the night, celebrating the advent of democracy.
I am back in Kashmir eight months after I had been here photographing the advent of winter. The valleys of this fertile land are green with new crops,
but many of the homes are still to be rebuilt. As I walked through the rubble, the kids again wanted to be photographed.
Najma came running, her bright red dress popping out of the green maize fields.Unsure at first, she smiled when I told her she had the same name as my sister.
Zaheera, a cute girl with freckles, gathered her friends and sang me nursery songs. But my thoughts are far away. Despite the laughter and the nursery songs very different sounds enter my consciousness. I remember the children screaming on the night of the 25th March 1971, when I watched in helpless anger as the Pakistani soldiers shot the children trying to escape their flame throwers. The US had sent their seventh fleet to the Bay of Bengal, in support of the genocide. Today, as I remember the Palestinians and the Lebanese that the world is knowingly ignoring, I can hear the bombs raining down on Halba, El Hermel, Tripoli, Baalbeck, Batroun, Jbeil, Jounieh, Zahelh, Beirut, Rachaiya, Saida, Hasbaiya, Nabatiyeh, Marjaayoun,Tyr, Jbeil, Bint Chiyah, Ghaziyeh and Ansar and I hear the screams of the children. Piercing, wailing, angry, helpless, frightened screams.
I remember my blind boy in Gaforgaon. The Lebanese and the Palestenians are also people without names. Their pain does not count. Their misery irrelevant, their anger ignored. Sitting in far away lands, immersed in rhetoric of their choosing, conjuring phantom fears necessary to keep them in power, hypocritical superpowers fail to acknowledge the evil of occupation. The ‘measured response’ to a people’s struggle for freedom will never in their reckoning allow a Lebanese or a Palestinian to be a person.
When greed becomes the only determining factor in world politics. When the demand for power, and oil and land overshadows the need for other people’s survival, I wonder if those screams can be heard. I wonder if those Israeli children will grow up remembering their siblings they condemned. I wonder if through all those screams the war mongers will still be asking “why do they hate us”?
Siran Valley, North West Frontier Province, Pakistan
With hundreds of people seeing the show every day, and excellent media
coverage, it might appear as if the staging of WPP photo in Bangladesh was a
smooth well organised affair. As Marc will testify, the reality was very
different. For those of you who have seen the show at the gallery or online,
this behind the scenes look will provide an amusing take on a potential
The crates had arrived at Zia International Airport on the 24th of December
2003, but the journey from Zia to Dhanmondi took considerably longer. The
opening was at 4:00 pm on the 7th January 2004. By 3:30 pm, the crates
hadn’t arrived! We did know they had left the airport, and was able to tell
the Dutch Ambassador that it was safe for him to come over. The head of the
caretaker government, our chief guest, Justice Habibur Rahman was already on
his way. The adrenaline was flowing!
Well, the show is still stuck at the airport, and Marc has been
loitering around the streets of Dhaka, but we are still hopeful that the
biggest show of the year will open tomorrow (7th January) at 4:00 pm at
the Drik Gallery. The exhibition will be opened by former Chief Justice
and Chief Adviser to the caretaker government Justice Muhammad Habibur
We live in difficult times. Not only do we need to combat the
suppression of press freedom locally, but we also need to fight the
unrestrained propaganda that camouflages as news in mainstream western
media. The use of the media for propaganda is not new. While embedded
journalism has only recently been institutionalised, the mechanism has
been in place ever since the US failed ‘to manage’ the media during the
invasion of Grenada. However, the global reach of some western media
organisations give them a reach that is unprecedented. The new forms of
imperialism are also supported by tacit support from local
representatives of western governments, as well as the developmental and
cultural organisations they support. Ironically, these are the very
organisations that promote ‘free press and democracy’ in our countries
while local media organisations operate under the silent pressures of
tied aid and thinly veiled threats of ‘withdrawal of support’.
It is ten years since we first brought World Press Photo (WPP) to the
region. Now WPP is not only a regular feature in our calendar, but the
show has also travelled to India, Nepal and Sri Lanka. The WPP workshops
have also been held in Bangladesh, India and Sri Lanka. Showing the
finest photojournalism exhibition in the world has had a visible impact
in our development of press photography. Bangladeshis have won awards,
been accepted for Masterclass, and been represented in both the adult
and child juries of WPP.
Despite these successes, it is our ability to withstand these local and
international pressures, which will determine whether we can ever become
a media of the people. Political and financial independence doesn’t come
easy. However, it is not the west or our politicians, or our sponsors
who hold the key. The compromises we make along the way, the favours we
accept, and our selective blind-spots will eventually circumscribe our
freedoms. Through this exhibition we celebrate the professionalism, the
dedication, the compassion and the love for this freedom that many
Chairman of the Jury 2003
11th September 2002. I was at Heathrow Airport, flying home to Dhaka. Friends had warned me against flying that day, but I wasn’t too bothered and looked forward to the empty seats I could stretch out on. In place of the flight notices, the loudspeakers made an unusual announcement. It was a call for a minute’s silence for the people who died at the World Trade Centre and year ago. A minute’s silence, and then it was business as usual.
The piece that follows was written in February 2003, in the week following the judging of World Press. Before the invasion of Iraq, before the advent of embedded journalism. Later at the award ceremony at the Oude Kurk, I was impressed by Wolffensperger’s speech (Chairman of the Board, World Press Photo), made in the presence of the Dutch Prime Minister, where he clearly stated his position regarding the attack on journalists and the media coverage during the invasion. I was left wondering however, why we as a community have never called for that minute’s silence, for those killed in Afghanistan or in Iraq, or the industry’s silence on the killing of its workers. We are responsible for the words that we speak, and the images we produce. Who will take the responsibility for the silences we maintain?
Much is made of the figures, but this is not a numbers game. While the sheer volume of photographs is daunting, it is still in the end a qualitative choice. How does one weigh one photograph against another? What makes one compelling image more special than another? What criteria do juries use to determine which one is best?
The parameters for the World Press Photo of the year are known; a photograph showing outstanding visual qualities and representing a news situation of global importance. News photographs are often taken on the run, in situations of extreme stress, often in situations of danger. Only outstanding photographers are able to create powerful, moving, beautifully constructed images even under such conditions. But their qualities need to combine with outstanding news-value to create the most talked about press image of the year.
2002 was a year of waiting. Waiting for UN resolutions to be applied equally to all. Waiting for aggressors to be punished. Waiting for a war that the world abhorred but seemed unable to stop. Missing were the moments that news networks paid millions to cover. Disasters in western countries lacked significant death tolls. Nothing significant had happened in the countries that mattered.
That is not to say that nothing had happened, or that the world was at peace. In a world where all lives are not equal, some lives are easily forgotten. Their daily plight does not count. Their struggles are insignificant. No war machines come to their rescue. Unless material interests intervene.
But riots, earthquakes and indiscriminate bombings have taken place, and occupation continues. And there have been photographers who have been there. At a time when defence pools, restricted access, and editorial policy define the perimeters of journalism, some photographers have gone against the grain and covered stories which should have been news but weren’t, about people who should have mattered but didn’t.
Clinging to the trousers of his dead father, a young boy cries for a loss that is as universal as it is personal. The image talks of humankind’s eternal struggle against nature, and a community’s ability to stand by the afflicted. Yet, amidst all these people, the young man is alone in his misery. The death he mourns might not matter to a world that doesn’t care, but to him, the world might well have stopped. And one photograph preserved that moment, a silent witness of an emptiness that speaks to us all. One photographer takes on the challenge of questioning our definitions of news.
As for the judging itself, it was a complex, passionate, fervent affair. Time and time again, we were humbled by someone’s insight into a moment, that had completely passed us by. Again and again, our zone of comfort was invaded. We were shaken into responding to an argument that questioned the values that we had always considered unshakeable. Our tools of measurement were cast aside. We stood naked, our prejudices exposed.
The photographers too stretched us. Images that explored the gaps in our visual spaces, played with our sense of balance. War was presented through lingering traces. Political systems presented through emptiness and solid structures. Consumerism and decadence exposed through garish images, unashamedly rejecting the classical norms of image construction. Tender moments rendered without sentimentality. And of course those stark images, where the photojournalist, at the right place at the right time, but hopefully for not too long, returned with the horrors of what man does to man.
When the credibility of our media, shrouded in propaganda, struggles for survival, a few brave women and men continue to report the news that is no longer newsworthy. This contest salutes their courage.
21st February. Oldham.
Chairman of the Jury 2003