Documentary Photography

Professional Photographer of the Year 2011 winners announced

Thursday, March 15th, 2012 | Author: Sojournposse Editor

By Salina Christmas

Professional Photographer Magazine today announced the shortlist for the Professional Photographer of the Year 2011 awards. Judges Dr Andy Gotts, Ben Duffy, Paul Sanders, Tom Catchesides and Professional Photographer Editor Adam Scorey sifted through over 6,000 entries for this year’s competition.

Winner, Reportage Weddings: Adam Riley

Below are the lists of winners and runners-up:

WINNERS

High Fashion – Chee Loon Jericho Soh
Street Photography – Mihail Kopychko
Wild World – Radek Vik
Commercial – James Neale
In the studio – Rossella Vanon
On Location – Marko Mestrovic
Sporting Action – Bjorn Stig Hansen
Reportage Weddings – Adam Riley
Still Life – Jen miles
Student of the Year – Luise Hannah Reichert
Editorial News – Fabio Bucciarelli
Breaking the Mould – Martin Stranka
Portfolio Award – John McMurtrie

Winner, Breaking the Mould: Martin Stranka

RUNNERS-UP

High Fashion – Maksym Finogeiev, Nikola Borissov & Marko Mestrovic
Street Photography – James Gourley, Paolo Inglese & Kate Passaro
Wild World – David Tyrer, Simon Ellingworth & Laura Jane Vest
Commercial – Rich Cooper, Irene van der Meijs & Al Veryard
In the studio – Florence Leung, Radu Carnaru & Luise Hannah Reichert
On Location – Florence Leung, Vladimir Tochanenko & Radek Vik
Sporting Action – Graeme Hutchison, Jeremy Rata & Craig Mitchell
Reportage Weddings – Mihail Kopychko, Mark Wallis & Andy Griffin
Still Life – Simon Ellingworth, Sebastian Schofield & Parth Sengupta
Student of the Year – Harley Jo Maloney, Diana Grigore & Martins Melecis
Editorial News – Jemima Marriott, Paul Hackett & John McMurtrie
Breaking the Mould – Jenny Brough, Julian Clune & Pavel Tereshkovets
Portfolio Award – Maksim Djackov, Rich Cooper & Tany Kely

Winner, Portfolio Award: John McMurtrie

The shortlisted photographers have been invited to the PPOTY awards night in London on 29 March 2012, where a winner and three runners up of each category will be announced. The magazine has also announced that there will be a “surprise award” on the night. Twenty tickets to the event, which will be held at theprintspace, London, are available to readers on a first-come-first-serve basis. For tickets, email: Kathrine.anker@archant.co.uk with the message line entitled: PPOTY READER TICKETS.

More on the awards can be read on the Professional Photographer website.

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Gaddafi: Now that’s entertainment

Friday, October 21st, 2011 | Author: Sojournposse Editor

By Salina Christmas

So, the Saudis are uncivilised for the beheadings in the car park? Look at our newspapers. And the BBC.

Last week, after the New Media Industrial Council meeting, Phil Mac Giolla Bhain and I got talking at the local pub over the Celtic and Rangers football rivalry which he has been reporting on for several years. I find the notion of games and ethnic or national identity being tied together very intriguing.

Mac Giolla Bhan told me a fascinating story about football, or soccer as the Yanks call it. Before football became big in the 19th Century, public hanging was, for centuries, a popular form of public entertainment. “The gallow got higher and higher because of that,” he said. “You’d get pie sellers, families, at these events.” He told me a bit about the Tyburn jig, the 15-year lull between the time when hanging was finally made private and when soccer emerged as the next popular form of public entertainment, and the link between the Industrial Revolution and the popularity of football among the rural migrants in booming industrial towns. And of course, the history of the Celtic and Rangers football clubs.

Pie sellers, fruit sellers, family outings. No, it's not the Chelsea home match. That's Hogarth witnessing a public hanging in the 18th Century.

Play as power

Out of all the theories we learned in the Digital Anthropology module, Anthropology of Games and Simulation, I found Sutton-Smith’s and Geertz’s theories on play (1959; 1997) the most fascinating. In his study of all the 22 kissing games in Ohio (1955), Sutton-Smith concludes that the play of ‘chance’, which somehow leads to the ambiguous, if not flirtatious, nature of play serves to ‘buffer’ the players from risks such as rejection. That is, if you lose a seat in that musical chair game, you won’t feel so bad. You don’t get to kiss the girl because you lose a seat, not because she says no. The ambiguity acts like a hedge, in a way, and is meant to make the play-pretend fun.

But he also brings our attention to the notion of “play as power” (1997), which, like “fate, community identity, and frivolity… predates modern times and advocate collectively held community values rather than individual experiences”. When play reaches this point, it is not as fun anymore. “Sports, athletics and contests” are such forms of play. “Football”, Mac Giolla Bhan said during our drinks, “is gladiatorial in a way”. It merely replaced the entertainment that went before it: the public hanging. I forgot to recommend Geertz’s essay on the Balinese cockfighting to my colleague, but Mac Giolla Bhan, if you’re reading this, go to this link.

It’s snuff, but don’t we love it

Adams won a Pullitzer prize for this, so it must be good. Right?

The media coverage of Muammar Gaddafi reminds me of public hanging and football. War is the most extreme form of game. There is nothing playful about it anymore, and I would argue, not even within the context of that leisure activity called video games (“Wikileaks: I suppose it’s bloody cinema. But so is satellite imagery”, 9 May 2010). The photos and videos of Gaddafi’s last moments were broadcast on telly and online as public entertainment.

Dr Ernesto Priego, who spoke on The Comic Grids at our London Design Festival event, tweeted this to us from Mexico: “Journos have defended the right to keep showing the video but there is violence inflicted upon us watching”. He is right. “The fact it’s a mobile phone video also emphasises the banality of brutal violence; the event as document.”

My problem with the Gaddafi snuff mobile phone footage is that there is no aesthetics, play-pretend or make belief that will cushion the viewer from the traumatising shock of witnessing the content. At times, photojournalism is no better than a happy-slapping mobile footage, but the photojournalists use techniques such as depth of field, framing and colour-grading for a reason. Of course, when it gets to Eddie Adams level, it’s a different story altogether. There is no catharsis derived from watching the Gaddafi snuff video because there is no distancing device. Trauma can be passed on via storytelling, verbally, visually and auditorily. We journos call it “second-hand trauma”. The agitation brought about from watching the Gaddafi clip is not resolved because there is no catharsis.

We moved so far away from public hanging only to return to this in the digital age. The media, and of course, the photo editors are partly to be blamed. But we’ve been enjoying spectacles like this since time began. So, the Saudis are uncivilised for the beheadings in the car park? Civilised folks, look at ourselves.

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Michelle Sank launches The Submerged photobook at HotShoe Gallery

Tuesday, August 30th, 2011 | Author: Sojournposse Editor

By Zarina Holmes

Award-winning photographer Michelle Sank will be launching of her photobook and exhibition, The Submerged, at Hotshoe Gallery on 8th September.
michelle-sank

Photo © Michelle Sank. The Submerged series.

The Submerged is set within Mid-Wales in the hilly and coastal areas around Aberystwyth, a town existing at the end of a railway line. The imagery portrays a grittiness evident in the geological and architectural fabric of the place, something often reflected in the dramatic landscapes and human performance within.

Says Sank on her website: “My practice is concerned with the notion of encountering, collecting, and re-telling. I became intrigued by the way both structures and the human form interact with the urban and natural make-up of this environment.”

Sank won the Single Image Winner in the International Photographic Award, a British Journal of Photography competition in 2010.

The Submerged is published by Schilt Publishing, an Amsterdam-based publisher that specialises in high quality photo books. It is distributed by Thames & Hudson.

Private View: Thursday 8 September 2011, 6.30 – 9pm. Exhibition at Hotshoe Gallery, 29 – 31 Saffron Hill, London EC1N 8SW, from 6th -29th September 2011. The Submerged (£29.95) is available in shops in London and online.

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Photofilm: Memory Loss by poet Hamish Low, with photography by Janet Greco

Tuesday, August 23rd, 2011 | Author: Sojournposse Editor
Sojournposse Photofilm at London Design Festival: Every year, we celebrate the festival with a photofilm, to honour the two disciplines we look to for inspiration: poetry and documentary photography. Poet Hamish Low has composed poems for two of our events. This year, he ponders on the moments that fleet by, those captured in pages or pictures, or are lost forever, never to be recovered. Are books, the placeholder for our memories, to be lost eventually, too? Memory Loss features images by photographer Janet Greco, photofilm by Zarina Holmes and saxophone by Hamish Low.

Memory Loss

it always seemed to me
that
watching rain fall on puddles
each moment in our lives was perfect in itself
like a droplet of rain hitting the surface of a pond
spreading out and diffusing in our lives
memories lost in the river of life
like a frame in a film
like a scene in a movie
the days flicker past like pages

Poem written and recited by Hamish Low. Saxophone by Hamish Low. Photography by Janet Greco. Photofilm by Zarina Holmes.

Previous photofilms

In 2010 we presented Love After Love for “Aesthetics as a means to heal”, with the theme of healing through storytelling. Poem written by Derek Walcott. Recited by David Salas. Photography by Sojournposse. Photofilm by Zarina Holmes.

In 2009 the collective presented East Is West for Nissan Design Europe’s “East Meets West”, with the theme of global unity. Poem written and recited by Hamish Low. Photography by Sojournposse. Photofilm by Salina Christmas.

On 17 September 2011, Sojournposse will be presenting a new event for The London Design Festival 2011, “Whatever is to become of books?” at University College London. Tickets are available on Eventbrite. £1 of each ticket sale from this non-profit event will go towards a photobook app project which supports the Japan Red Cross tsunami drive. Please follow our updates on Twitter at @sojournposseF8, following the hashtags #LDF11 and #storyofbooks. We are also on Facebook and Google+.

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London riots: Why did it take 49 fires in Tottenham to make us listen?

Wednesday, August 17th, 2011 | Author: Sojournposse Editor

Photography and words by Zarina Holmes

The Guardian published a report of potential unrest in Tottenham five days before Mark Duggan was shot by the Metropolitan Police, one week before the riots broke out. Why didn’t anyone listen? Zarina Holmes visits Tottenham High Road to find out.
Photo © Zarina Holmes / Sojournposse

Parents and children watching the traces of destruction at a local supermarket after the riot in Tottenham. Photo © Zarina Holmes / Sojournposse

London, UK. Tottenham High Road is not a particularly beautiful place. If you walk half a mile up the road from Seven Sisters tube station, you will see supermarkets, local grocers, hairdressing salons and cheap clothes shops. Hardly any sign of middle class eateries such as Pret A Manger or Eat, or even something as working class as MacDonald’s. They closed down MacDonald’s to replace it with a betting shop. There is nothing that you can call special there.

Tottenham, where the August riot first broke out, sits on the periphery of Zone 2 and Zone 3. It is not close enough to the City to be included in the Barclays Cycle Hire scheme. The working class residents are not as dynamic as the people in Brixton, or boho-chic as like those in Notting Hill, or hipster like those in Hackney. It’s like a scene from Little Britain, without the humour.

On Monday 8 August 2011, like many Londoners, I was barely three miles away from the arsons and lootings that broke out in Clapham Junction, Fulham, Chelsea, Brixton and Notting Hill. Londoners have witnessed the worst and also the best out of their neighbours during this period.

Yesterday, I visited Tottenham with Steven Lee, a photographer colleague and founder of ExploreNation.net. He suggested that we visit Tottenham a week after the riots. He said: “I couldn’t sleep. I feel that I have to see it myself.”

Other journalist friends also shared the same feeling. During the unrest, we were confined to our homes, feeling powerless as we witnessed the events unfolded on Twitter, on the news websites and on television. The night after the riots, I went to Dalston with Vipul Bhatti, a finance journalist who is also artistic director of the social art movement, London Love Is.

Bhatti said: “We can’t just sit here and read inaccurate reports. We must go to the streets and talk to the people. That’s our purpose as journalists and storytellers.”

Seeing the Tottenham High Road, it is understandable why the community is ignored. There is a sense of dejection and lack of pride there. High street businesses struggle to thrive with constant petty thefts. The long history of a difficult relationship with the Metropolitan police doesn’t help. Until the recent London riots that started here last Monday, no one really took notice of the town.

One colleague in broadcasting pointed out that it’s probably easier to deploy a team of reporters to Libya, rather than to report on the street, “because who wants to camp out in Tottenham.”

Too many betting shops for those with “nothing to do”

Photo © Zarina Holmes / Sojournposse

Government buildings, banks, betting shops and legal services were targeted by rioters. Photo © Zarina Holmes / Sojournposse

The alternative for local youths who have “nothing to do” are the many betting shops that dotted along the road, all the way up to the local Job Centre. There are, were, probably six or seven of them. The Haringey Council’s Youth Offending Service (YOS) is, or should I say, was, sandwiched between two betting shops – Betfred and Ladbrokes. They have been smashed or torched down, like all others we saw.

Opposite this youth centre is a bus stop. This was where a double-decker bus was set on fire. That image of the burning bus has come to symbolised the London riots. The tarmac beneath it had melted. The heat from the bus was so intense that it had cracked the glass windows of The Ship pub across the road.

This was pointed out to me by a passer-by in a shell suit. “Look, the pub’s got no windows.” He stuck his hand inside so I can take a photo. Inside, a few workmen measured the window frames.

It was reported that 49 fires were started by rioters that night.

As I snapped away, a middle-aged black woman walked past. Without stopping or even looking at me, she said: “It’s further up the road.” Indeed the ground zero was further up the road.

The post office was a handsome four-storey building with residential flats above it. Now it is burnt to the ground. A Scrubb digger ripped through the condemned building. I could see fridges and tiled kitchen walls inside. People used to live there.

I asked an engineer at the site when the reconstruction will be complete. He said: “We are not reconstructing this, love. We are tearing the whole thing down, even the flats next to it. The foundation is not stable anymore. It’s not safe.”

Steven and I walked on. We met John, a Malaysian-born resident who owns a glasses shop. According to him, the riot started because the police didn’t address the protestors outside the station with respect. He said: “They should have invited them in for a proper chat, instead of leaving the disgruntled crowd on the pavement.”

“Luckily we are safe from the fire because the wall is fire retardant. Different groups did the riots and lootings afterwards. First, the angry mob set the post office on fire. Then the gangs took advantage of the situation and started looting the jewellery shop next door.”

He added: “I have been here for 20 years. The racial tensions and bad relationship with the police have been going on for generations. It’s pretty sad.”

Mark Duggan shooting was “unnecessary”

Photo © Zarina Holmes / Sojournposse

Formerly Tottenham High Road post office. A jewellery shop next to it was looted and set on fire. Photo © Zarina Holmes / Sojournposse

Finally we reached the Job Centre, which is opposite the Housing Benefit building. Both buildings are boarded up, with traces of fire damage. For a good few minutes Steven and I were speechless. We continued photographing in silence.

A handsome man approached me. He was white, well-dressed and holding a copy of Financial Times. He said his name was Darren. He asked me: “You don’t suppose to know where I should sign on now, do you?”

I said I have no idea. He laughed: “I am unemployed. I am supposed to sign on today, but the Job Centre is now closed down.” Or rather, burnt down. “I’m not sure what to do now.”

Then he added: “You know, Mark Duggan was not as bad as they make out to be. I don’t know him personally, but my friends knew him. The shooting was really unnecessary.”

So that was pretty much what the locals think. But that doesn’t justify the opportunistic lootings and mindless destructions that followed, and the deaths of five people during the riots that spread throughout England.

I visited Dalston, Notting Hill, Trafalgar Square, Parliament Square and Tottenham, to know the story behind the riots. Everyone was approachable. Everyone was eager to share their stories. Everyone wanted to be heard. Everyone wanted to explain themselves. Perhaps this is what we haven’t been doing enough lately.

Listening.

Zarina Holmes is the founder of Sojournposse Purpose, a storytelling project for Corporate Social Responsibility and Community Interest companies.

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