It is striking how in this entire piece about a lack of diversity in mainstream Western / European photojournalism, the idea ‘lack of representation’ is defined only as ethnic, nationalist, or gender. What is completely left out is politics. That is, the idea of a diversity of political views and perspectives that face, criticize, and dissent against the mainstream European / Western mainstream liberal discourse. And by not acknowledging the ‘manufacturing of consent’ element of mainstream Western media – a fact that has now been written about in countless books, articles and blog sites, it falls prey to simple, and yet again, ‘liberal’ ideas about what ‘diversity’ means and ought to be.
What happens when the issue, the situation or the circumstances do not permit or posses the obvious photograph? What does a photographer, who believes in the issue and is determined to bring it to light, do when s/he finds herself unable to find and/or take photographs? NOOR photographers Asim Rafiqui, Benedicte Curzen and Stanley Greene discuss a project each that confronted them with this challenge, and talk about how, determined to tell the story, they chose unconventional and unexpected approaches to it.
During the week of 16-20 November, Stanley, Bénédicte and Asim are teaching the NOOR-Nikon Amsterdam Masterclass with 15 young, aspiring photojournalists from the Netherlands, Belgium, Germany and the United Kingdom at De Balie. As part of the week’s program the NOOR Foundation, with support from Nikon, has organized this evening – open to local industry professionals and the public at large.
The evening will be moderated by Nadia Moussaid.
The Guardian reviewed Carlos Spottorno’s new work Wealth Management and claimed “…that there is enough mischief here to prove that Carlos Spottorno is one of the most serious political provocateurs currently operating in photography.” There is no doubt that Spottorno is a very smart photographer, but I disagree with the thought that this work is anything provocative. Unlike previous efforts, such as his project PIGS, this one falls within the same confines of the predictable and unimaginative.
The fact of the matter is that it has now become quite banal to document the profligate life-styles of the super-rich. In fact, Lauren Greenfield was an early pioneer of documenting the bizarre and deviant priorities and interests of the American elite society. However, since the 2008 crash, there have been a whole host of works that try to speak about global inequality and do so from the perspective of the hyper-wealthy. In fact, there are so many works that Time Magazine’s associate Photo Editor Myles Little could put together a massive global exhibition of works that bring together a visual potpourri of the lives of the super-rich.
In fact, so much so that Michael Shaw of BagNewsNotes even went so far as to point out recently that:
More and more, I’m seeing wealth and power — in specific photo stories, and even more so, in the increasingly random presentation of news photos — as not just a recurrent theme, but as connective tissue….If hyper-capitalism is becoming the issue of our time, however, I’m tempted also say that more and more images…are presenting a moral counterweight. Details »
I am in Pakistan now. But in a few weeks I will be in The Netherlands. And here is why.
We hear from self-proclaimed photojournalism futurists that the media world as we know it is dead. We are told repeatedly by major magazine editors that there are no budgets for serious, long-term photojournalism assignments. We argue every week with other editors for a even the most basic of day rates for the assignments we do get. We hear and read about all the new technical breakthroughs that are making sure magazine-spread, linearly laid out photo-essays, once the bread and butter of the craft, are no longer relevant, and that more sophisticated tools are promising us non-linear, complex, multi-layered means of story-telling.
And yet, there are few photography workshops that will actually discuss and incorporate these realities and help students figure out ways to navigate them. Even the most well known, resourced and taught photojournalism workshops continue to teach students based on a pedagogy that has little relevance in the world the students hope to make a name for themselves. We continue to see people standing around a light table carefully and with exaggerated precision, laying out photos in an A-to-B sequence, as if the magazine page was the principal and only possible publishing medium. We continue to hear teachers talking about ‘sense of place image’ or ‘an opener’ or a ‘closer’ and other such anachronistic ideas that frankly suggest that there has been no digital transformation. Linearity, sequencing, start-here-then-go-there approach remain the principle method in workshops, photo festivals, gallery exhibits and even online portfolio presentations. This despite the fact that more likely than not, a new photographers work will end up on a digital platform far before it ever ends up in a printed one.
I would like Arab women to stop trying to represent ‘Arab’ women.
This is an insidious trap that steals from them the width and breath of life and imagination. We have so much to document, so much to speak about, beyond the constant rehashing of issues of ‘hijabs’ and ‘harems’ and ‘self-identify’. The Western curatorial tradition – ideological, and blind to its affiliations to power and politics, wants the brown wo/man to only always be explaining and representing themselves. It’s as if we are alien beings under constant interrogation and curious observation. Previously they forced it from us, now they try to get us to do it voluntarily by offering us a ‘space’ in their beautiful galleries and magazine spreads. No Western photographer or curator would ever put together an exhibition like this about White /European women. The subject would not even occur to them, and in fact, it would be considered seriously bizarre. The European needs no representation. The ‘other’s’ women – inexplicable, opaque, deviant, incomprehensible, are constantly placed under a gaze – curatorial, documentary, journalistic and what not. Or being bought together to justify their ‘humanity’ by showing possibly that they are as much human as we are. I don’t even quite understand the need to have such ethnically and geographically segmented works, but clearly there is a huge market for it in the imperial nations. The French are great purveyors of such anachronistic Orientalism, constantly categorising and indexing the world into its neat little ‘packets’. Details »
A already complex, determined work gets more complex, and more determined. Matt Black once again sets a high standard of commitment and focus, bringing his sharp, searing eye to our hard, crippling reality.
disdain dismissal of most all photojournalists working on ‘immigration’ stories begins with this simple fact outlined in this excellent article titled The Story Behind The Stories, where author Rodney Benson argues that:
The complexity of the international causes of migration cannot be easily expressed as a melodrama. And mentioning them is ideologically sensitive: it suggests there could be something wrong about an economic system that most politicians — and journalists — take for granted. From the early 1970s to the mid-2000s — a time of neoliberal globalisation and bloody conflicts in Central America manipulated by the US — immigration stories that mentioned international causes fell from 30% to 12% in leading US papers. To their credit, French newspapers in the 2000s, just as in the 1970s, mentioned the global angle in 33% of their immigration news stories, mostly because of the greater prominence of anti-globalisation sentiment in French intellectual and political culture. Yet, too often, both French and US media fail to give the full picture on immigration. Their focus on emotion, and on individual stories, diverts attention from the fundamental political issues, and leaves the way open for the simplistic “solutions” advocated by the far right.