Photographic Heroes:
Leaflet Task
I then started to look at the work of the photographers and found which artists are most appropriate for my exhibition. I have also selected bodies of work which I think will work best. I wanted to chose fairly contemporary photographers, as I want the exhibition to display current or ongoing global issues. Steve McCurry was my first choice because over the last decade he has traveled the world and managed to document many different issues. His work is very varied and he manages to capture decisive moments with a great sense of composition. Sebastiao Salgado has published essays that also look at different issues such as forced migration. His work is different because his photographs are always black and white which I like. Abbas has dedicated his life to capturing the political and social life of countries in conflict. His war photography is particularly outstanding and so I have chosen it to exhibit. Finally I chose the photographer Akash due to his passion for presenting suffering through his photography and creating awareness for the unheard.To the right is a list of the chosen photographers and their work.
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Steve McCurry
Cultures on the Edge:
Since the beginning of time, nomads have roamed the world and have been an essential part of economic and cultural activity around the globe. Each of these groups is threatened by a variety of factors: urban sprawl, cheaper factory goods, modern technology, stringent wildlife laws and governmental pressure. |
Weathering the Elements :
Stolen Childhoods:
Sebastiao Salgado
Sebastiao Salgado is a Brazilian social documentary photographer and photojournalist who has travelled extensively around the world documenting both the natural world and global issues. I have selected his body of work called 'Migrations', Salgado said that: "At this time, I want to speak out for immigrants, for those who live in such circumstances, and to speak out to those who can receive them. I want to show the immigrants' dignity in their willingness to integrate into another country, to show their courage and their entrepreneurial spirit and, not least, to demonstrate how they enrich us all with their individual differences."
In recent decades, hundreds of millions of people across the globe have been uprooted from their homes by poverty, wars and repression. Some flee to save their lives; others risk their lives to escape destitution; Salgado's body of work aims to represent these migrations.
In recent decades, hundreds of millions of people across the globe have been uprooted from their homes by poverty, wars and repression. Some flee to save their lives; others risk their lives to escape destitution; Salgado's body of work aims to represent these migrations.
James Hill
James Hill is one of the world's leading photojournalists and he has won many prestigious prizes for his work, such as the Pulitzer prize. He studied at Oxford and the London School of Printing and started his work as a photographer in 1991. He now works for the New York Times as their European Contract Photographer. The work below I have selected from his trip to Afghanistan in 2001 where he documented the conflict that was occurring.
Exhibition Venues
Exhibition Leaflet:
Curatorship Task
So We Don't Forget
The 21st century has been plagued with issues that continue to test our ability as humans. The Tate Modern is pleased to announce 'So We Don't Forget', a new and challenging exhibition that explores five global issues that continue to threaten the world: War, Migration, Child Labour, Extreme Weather and the Decline of Nomadic Tribes. It brings together the work of Brazilian photographer Sebastiao Salgado, American photojournalist Steve McCurry and documentary photographer James Hill to present social, political and economic issues throughout the world.
In recent history hundreds of millions of people around the world have been uprooted and displaced from their homes, some flee due to war and corruption and others risk their lives to escape poverty and deprivation. Salgado said that he wanted to speak out for immigrants through his photography, he said "I want to show the immigrants' dignity in their willingness to integrate into another country, to show their courage and their entrepreneurial spirit and, not least, to demonstrate how they enrich us all with their individual differences" (Interview- PND's Nancy Madlin). This exhibition presents some of his striking and thought provoking black and white photographs on Migrations.
This exhibition also brings together three bodies of work by Steve McCurry. He explored some of the most hazardous place on earth in order to capture different societies dealing with extreme weather events. Our planet is a hugely versatile place that endures many different climates and Steve McCurry manages to capture this through his astonishing and powerful photographs. He also looked at the issue of child labour, as hundreds of millions of children across the world spend their childhood working and as much as 1 in 6 children in developing countries are involved in child labour. 126 million of these work in hazardous conditions, even though children remain the most vulnerable group. Steve McCurry travelled to countries such as India to witness this, and this exhibition presents some of these portrait photographs. Lastly the exhibition displays some of his work from 'Cultures on the Edge' where he explored the decline in nomadic tribes across the world. Their way of life is becoming increasingly threatened due to processes such as technological development and urban sprawl.
The last photographer that is being exhibited is James Hill, who is one of the worlds leading photojournalists. He has documented conflict all over the world and in 2001 he went to stay in Afghanistan where he immersed himself amongst the army, and through his experiences he managed to capture both horrific and heart-warming photographs.
This exhibition aims to visually inspire and inform people about current global issues that continue to threaten the world through captivating and striking photographs.
In recent history hundreds of millions of people around the world have been uprooted and displaced from their homes, some flee due to war and corruption and others risk their lives to escape poverty and deprivation. Salgado said that he wanted to speak out for immigrants through his photography, he said "I want to show the immigrants' dignity in their willingness to integrate into another country, to show their courage and their entrepreneurial spirit and, not least, to demonstrate how they enrich us all with their individual differences" (Interview- PND's Nancy Madlin). This exhibition presents some of his striking and thought provoking black and white photographs on Migrations.
This exhibition also brings together three bodies of work by Steve McCurry. He explored some of the most hazardous place on earth in order to capture different societies dealing with extreme weather events. Our planet is a hugely versatile place that endures many different climates and Steve McCurry manages to capture this through his astonishing and powerful photographs. He also looked at the issue of child labour, as hundreds of millions of children across the world spend their childhood working and as much as 1 in 6 children in developing countries are involved in child labour. 126 million of these work in hazardous conditions, even though children remain the most vulnerable group. Steve McCurry travelled to countries such as India to witness this, and this exhibition presents some of these portrait photographs. Lastly the exhibition displays some of his work from 'Cultures on the Edge' where he explored the decline in nomadic tribes across the world. Their way of life is becoming increasingly threatened due to processes such as technological development and urban sprawl.
The last photographer that is being exhibited is James Hill, who is one of the worlds leading photojournalists. He has documented conflict all over the world and in 2001 he went to stay in Afghanistan where he immersed himself amongst the army, and through his experiences he managed to capture both horrific and heart-warming photographs.
This exhibition aims to visually inspire and inform people about current global issues that continue to threaten the world through captivating and striking photographs.
ROOM 1 : Weathering The Elements - Cultures On The Edge - Stolen Childhoods
The exhibition 'So We Don't Forget' brings exciting work from Steve McCurry. It features his series 'Weathering The Elements' that looks at how people survive in some of the most hazardous places on earth. The room also presents his work which explores nomadic people and their threatened way of life. Lastly his series 'Stolen Childhoods' will be on show which looks at the issue of child labour across the world in developing nations.
The exhibition 'So We Don't Forget' brings exciting work from Steve McCurry. It features his series 'Weathering The Elements' that looks at how people survive in some of the most hazardous places on earth. The room also presents his work which explores nomadic people and their threatened way of life. Lastly his series 'Stolen Childhoods' will be on show which looks at the issue of child labour across the world in developing nations.
Steve McCurry
- Born on February 24th 1950 in Pennsylvania
- He attended Pen State University and in 1974 he graduated with a degree in Theatre Arts
- He became interested in photography when he started taking pictures for the Penn State Newspaper 'The Daily Collegian' then he worked at 'Today's Post'
- He then became a freelance photographer and his career kicked off when he managed to cross the Pakistan border into rebel-controlled areas of Afghanistan as he was one of the first to present the conflict, for this work he won the Robert Capa Gold Medal
- On the January 30th 1984 he captured his most famous picture 'The Afghan Girl' which originally appeared in The National Geographic Magazine
- On May 6th 1984 he won Magazine Photographer of the year by National Press Photographers Association
- In August 1985 he won 4 first prizes in the World Press Photo Contest
- 20th October 1985 he publishes his first book 'The Imperial Way'
- In September 1986 he became a member of Magnum Photos
- Between 1998-2000 he created three more books: 'Monsoon', 'Portraits' and 'South Southeast' and won a further eight awards
- April 2002 he went back to photograph The Afghan Girl after 18 years
- Between 2002-2011 he published a further seven books: 'Sanctuary: The Temples of Angkor', 'The Path to Buddha', 'Steve McCurry','Looking East', 'In The Shadow of Mountains', 'The Unguarded Moment' ' and 'The Iconic Photographs'
Goa, India, 1983 The monsoon season in Goa starts around June and lasts for around three months, bringing heavy rainfall throughout the region. Good monsoon seasons can bring prosperity and are very beneficial to local people, however a bad monsoon can lead to famine and death. This photograph was taken in Goa in 1983 during the monsoon season. It shows two men crossing a swollen river after the bridge has been washed away by the force of the water. In the background of the photograph there is a large, forceful waterfall. The composition is in a portrait format, this allows the whole length of the waterfall to be captured, which extenuates the sheer volume of it and makes it appear to drench the frame. Steve McCurry has used a fast shutter speed, causing the water to freeze in motion. This creates a rough texture which helps portray the force of the water. He followed the monsoons and wanted to see them as a predictable yearly event, and not the disaster that they seemed to his western eyes. The two men in the image portray this, as they help each other to overcome nature which is an annual occurrence for them. McCurry said that "In this genre of street photography you're present in the moment"(American Photo). This idea can be seen through this photograph as he manages to capture this specific moment. This photograph is from his series of images on extreme weather, for part of this project he travelled the world chasing the monsoons, which he said was "an experience that taught me a lot about patience and humility". McCurry also said that weather is often his best ally as he tries to create the perfect mood for his photographs. The ferocious water in this image helps to convey the difficulty that these people face, while also portraying the friendship between the two men. |
Kuchi Shepherd, Kashmir
This photograph is a portrait of an elderly Kuchi Shepherd. The Kuchis are a nomadic tribe who account for around 10% of Afghanistan's population. They have to travel long distances in order to escape from drought, dust storms and war. Throughout history, and still in the present day, they are an important part of Afghanistan's society and economy as they provide manufactured goods to remote areas and contribute to Afghanistan's exports. However, their way of life is becoming increasingly threatened due to social pressures and the increasing frequency and intensity of drought. The photograph has a very shallow depth of field, therefore the mans face is in focus where as his body is not and this makes his face the focal point of the image. Steve McCurry said, “Most of my photos are grounded in people. I look for the unguarded moment, the essential soul peeking out, experience etched on a person’s face” (WSI Magazine). This photo encompasses this, as you are drawn into his eyes as they are crisp and colourful. They appear to have a story to tell and this is enhanced by the fact that he is making eye contact with the camera, as his directness conveys that there is more to see than just the image. The wrinkles highlighted in his skin by dark tones show him to be an experienced man and they could represent the troubles that he has faced in his life. His hand is also being wrapped around himself as he clutches his clothing close to his chest. This portrays a sense of protection and conveys that the Kuchi's have survived for centuries. The photograph consists of earthly colours: his brown skin, the orange tones in his beard and the unsaturated green colours. These help reflect their natural way of nomadic life. |
Ship-breaking yard, Mumbai, India. 1994.
Steve McCurry has traveled the world on assignment for the past three decades and said he has "witnessed children working in fields, ditches, tunnels, mines and ship-breaking yards", as one in six children in developing countries are involved in child labour. India is a country that he has traveled to some 80 or 90 times and he says it is "like another world to me" (CNN), across the region he witnessed child labour. This photograph was taken in Mumbai on a ship-breaking yard, the young boy in the picture is a welder. The photograph has a shallow depth of field, making the boy in the foreground the only thing in focus and this draws your attention to him. Furthermore, he is making eye contact with the camera and this makes the image more powerful as the viewer feels as though they have direct contact with the boy. In the background there are huge, destroyed ships, the scale of these ships highlights his vulnerability, as he appears more fragile and exposed. This field of work is not recognised as an industry and therefore based labour laws do not apply. The firms try to maximise profits and so little is done to minimilise the risk of accidents. This can be seen as the boys only form of protection is his goggles and cloth. His surroundings consist of broken materials, and this, in combination with the rusted colours and lack of saturation portray his broken future.
Steve McCurry has traveled the world on assignment for the past three decades and said he has "witnessed children working in fields, ditches, tunnels, mines and ship-breaking yards", as one in six children in developing countries are involved in child labour. India is a country that he has traveled to some 80 or 90 times and he says it is "like another world to me" (CNN), across the region he witnessed child labour. This photograph was taken in Mumbai on a ship-breaking yard, the young boy in the picture is a welder. The photograph has a shallow depth of field, making the boy in the foreground the only thing in focus and this draws your attention to him. Furthermore, he is making eye contact with the camera and this makes the image more powerful as the viewer feels as though they have direct contact with the boy. In the background there are huge, destroyed ships, the scale of these ships highlights his vulnerability, as he appears more fragile and exposed. This field of work is not recognised as an industry and therefore based labour laws do not apply. The firms try to maximise profits and so little is done to minimilise the risk of accidents. This can be seen as the boys only form of protection is his goggles and cloth. His surroundings consist of broken materials, and this, in combination with the rusted colours and lack of saturation portray his broken future.
ROOM 2 : Migrations
Sebastiao Salgado's series of work looking at the migration of people will be featured in this exhibition. He explores the movement of people due to conflict, poverty, extreme weather events and much more.
Sebastiao Salgado's series of work looking at the migration of people will be featured in this exhibition. He explores the movement of people due to conflict, poverty, extreme weather events and much more.
Sebastiao Salgado
- Born February 8th 1944 in Brazil
- Gained a masters degree in economics from the University of São Paulo In Brazil
- Began working as an economist for the International Coffee Organisation and first started taking photographs when he travelled to Africa on missions for the World Bank
- In 1973 he left his job as an economist and moved to Paris to become a photographer
- He worked for the photo agency Sygma
- In 1979 he joined Magnum photos
- In 1984 he finished his work on the Indians and Peasants of Latin America and published his first book: 'Other Americans'
- From 1984-86 he spent 18 months documenting the famine in Africa and then published two books: Sahel-l'homme en detresse (1986) and Sahel- el fin del camino (1988)
- From 1986-92 he travelled to 23 countries and produced a book called 'Workers' (1993)
- In 1993 he started a project which took him to 43 countries across all continents and he developed a book called 'Migrations' (2000)
- He has produced many other bodies of work, for example: 'Terra' (1997), 'An Uncertain Grace' (1992), 'Africa' (2007)
- In 1993 he won The Royal Photographic Societies Centenary Medal and Honorary Fellowship
- In 1994 he left Magnum Photos and him and his wife created their own agency called Amazonas Images
- From 2004-2011 he travelled around the globe searching for preserved nature and humanity, he then published his book 'Genesis' (2013)
- He is also a UNICEF Goodwill Ambassador and and honorary member of the Academy of Arts and Sciences in the USA
The once-prestigious Jade Maiwand Avenue. Kabul, Afghanistan. 1996
This photograph was taken in Afghanistan in 1996, the year that the Taliban seized control of the capital city Kabul during the civil war to introduce a hard-line version of Islam. The war was driven by a race for power between two major groups, the United Front and the Taliban. Jade Maiwand Avenue is one of the cities main streets that was once a thriving commercial and historic area but has been subject to attacks since 1978. It has therefore been reduced to rubble and its inhabitants left without homes. This photograph shows Kabul's citizens walking through the streets, amongst their ruined city. The backdrop and surroundings provide a constant reminder that war and conflict is always around the corner. The row of destroyed buildings shows the endlessness of this conflict and destruction, while the dark shadows cast amongst them and the jagged edges of the buildings portray the brutality of the war. The photograph has been taken so that you can not see around the corner of the street, and this conveys a sense of uncertainty as the civilians don't know what destruction may lie ahead. The ruined and broken surroundings help to portray the inner emotions of the people in the picture, and convey the physical and emotional destruction that they have endured in their lives. The two main figures in the foreground of the picture contrast each other as one is dressed in white, where as the other is in dark tones. They reflect the background of the image, as his dark tones are a reflection of the shadows and she reflects the light buildings. The photograph presents the reality that the refugees have to live with, as they struggle to carry on with life in their ruined city without a job or home. Here he has intended to present the people who are at the mercy of economic and political forces beyond their control.
This photograph was taken in Afghanistan in 1996, the year that the Taliban seized control of the capital city Kabul during the civil war to introduce a hard-line version of Islam. The war was driven by a race for power between two major groups, the United Front and the Taliban. Jade Maiwand Avenue is one of the cities main streets that was once a thriving commercial and historic area but has been subject to attacks since 1978. It has therefore been reduced to rubble and its inhabitants left without homes. This photograph shows Kabul's citizens walking through the streets, amongst their ruined city. The backdrop and surroundings provide a constant reminder that war and conflict is always around the corner. The row of destroyed buildings shows the endlessness of this conflict and destruction, while the dark shadows cast amongst them and the jagged edges of the buildings portray the brutality of the war. The photograph has been taken so that you can not see around the corner of the street, and this conveys a sense of uncertainty as the civilians don't know what destruction may lie ahead. The ruined and broken surroundings help to portray the inner emotions of the people in the picture, and convey the physical and emotional destruction that they have endured in their lives. The two main figures in the foreground of the picture contrast each other as one is dressed in white, where as the other is in dark tones. They reflect the background of the image, as his dark tones are a reflection of the shadows and she reflects the light buildings. The photograph presents the reality that the refugees have to live with, as they struggle to carry on with life in their ruined city without a job or home. Here he has intended to present the people who are at the mercy of economic and political forces beyond their control.
Former peasants living in crowded apartments. Ho Chi Minh City, Vietnam . 1995
Global economic change throughout the world is deepening rural poverty in many less economically developed countries. This results is mass peasant migration, as people seek out a higher standard of living as income is twice as high as in rural areas and schooling, clean water and health care are more accessible. When Salgado asked migrants why they were leaving they said "Maybe we will find a seven days a week job, and maybe we will have one day a month free, and maybe our girlfriend will come some day and buy a used car and we will get a small house" (Interview PND's Nancy Madlin). This rural to urban migration results in rapid city growth, Ho Chi Minh City is the largest in Vietnam with a population of over 9 million.
50 percent of the migrants in Ho Chi Minh City reported that housing conditions were worse since migration, as many people try to save money which results in up to six migrants sharing small housing units of just 8-10 square metres. This photograph shows the over crowded apartments that the former peasants live in. The lack of negative surrounding space in the photo and the repetitive rows of uniform windows convey the scale of the apartments, creating a more full and crowded image. When looking at the photograph as a whole, the different apartments all appear to be the same, although as you focus in on each window, the people and objects that can be seen reveal more about the migrants and their lives. Each apartment has a white light shining from within it and this indicates that there is much more going on behind the window. Salgado said "I work on stories rather than an individual picture", this can been seen here as this is a set of photographs on the process of migration, and even within this one image there are many stories behind it. There are the stories of all the different people in their apartments and how they came to live there. The photograph is in black and white, Salgado said that he choses to present all his photographs in black and white in order to "concentrate the emotion and allow the image to be interpreted for what it is". In this image it allows the viewer not to be distracted by bright colours, but to focus on the scene itself. It also creates a more uniform look which helps convey the vast extent of the rural to urban migration.
Global economic change throughout the world is deepening rural poverty in many less economically developed countries. This results is mass peasant migration, as people seek out a higher standard of living as income is twice as high as in rural areas and schooling, clean water and health care are more accessible. When Salgado asked migrants why they were leaving they said "Maybe we will find a seven days a week job, and maybe we will have one day a month free, and maybe our girlfriend will come some day and buy a used car and we will get a small house" (Interview PND's Nancy Madlin). This rural to urban migration results in rapid city growth, Ho Chi Minh City is the largest in Vietnam with a population of over 9 million.
50 percent of the migrants in Ho Chi Minh City reported that housing conditions were worse since migration, as many people try to save money which results in up to six migrants sharing small housing units of just 8-10 square metres. This photograph shows the over crowded apartments that the former peasants live in. The lack of negative surrounding space in the photo and the repetitive rows of uniform windows convey the scale of the apartments, creating a more full and crowded image. When looking at the photograph as a whole, the different apartments all appear to be the same, although as you focus in on each window, the people and objects that can be seen reveal more about the migrants and their lives. Each apartment has a white light shining from within it and this indicates that there is much more going on behind the window. Salgado said "I work on stories rather than an individual picture", this can been seen here as this is a set of photographs on the process of migration, and even within this one image there are many stories behind it. There are the stories of all the different people in their apartments and how they came to live there. The photograph is in black and white, Salgado said that he choses to present all his photographs in black and white in order to "concentrate the emotion and allow the image to be interpreted for what it is". In this image it allows the viewer not to be distracted by bright colours, but to focus on the scene itself. It also creates a more uniform look which helps convey the vast extent of the rural to urban migration.
FEBEM (foundation for Child Welfare) centre. São Paulo, Brazil. 1996
This is a photograph of babies playing on the roof of the FEBEM centre in the Pacaembu district in São Paulo. Around 430 young children live in the centre, the majority of them were given up by their parents as they were no longer able to care for them and 35% were just abandoned on the streets. In Salgado's Migrations Book Review from 2006 he stated that "We have become one world: In distant corners of the globe, people are being displaced for essentially the same reasons." This photograph presents the forced migration of children, and this is evident all around the world in both LEDCs and MEDCs, where children are subject to neglect as their parents are unable to look after them. At this time thousands of migrants were moving to the city, putting pressure on resources space and this is one factor that led to parents being unable to feed and care for their children.
The foreground of the image is very busy with lots of babies at different levels and in different positions, and this portrays the large amount of children who are in care. Furthermore, all the children are wearing white clothing, creating a lighter tone in the foreground which could present their innocence and vulnerability. There is also lots of movement amongst them as they play, making them appear dynamic yet fragile, and this contrasts the grey, static and rigid buildings in the background, enhancing the separation between them and the adult world. Salgado balances the dense layer of towering skyscrapers with the multitude of abandoned babies in the foreground. In this image Salgado is presenting the issue of child abandonment and the photo suggests that the issue is as great as the towering buildings behind. The view of the skyline also portrays the idea that they are looking onto their future, as when they are old enough they will have to leave the centre to enter the world that is before them. Through this photograph Salgado wanted to present the harsh reality of the social situation in São Paulo. Babies like these are often unseen and he did not want them to be ignored for this reason, therefore he has presented them to the world.
This is a photograph of babies playing on the roof of the FEBEM centre in the Pacaembu district in São Paulo. Around 430 young children live in the centre, the majority of them were given up by their parents as they were no longer able to care for them and 35% were just abandoned on the streets. In Salgado's Migrations Book Review from 2006 he stated that "We have become one world: In distant corners of the globe, people are being displaced for essentially the same reasons." This photograph presents the forced migration of children, and this is evident all around the world in both LEDCs and MEDCs, where children are subject to neglect as their parents are unable to look after them. At this time thousands of migrants were moving to the city, putting pressure on resources space and this is one factor that led to parents being unable to feed and care for their children.
The foreground of the image is very busy with lots of babies at different levels and in different positions, and this portrays the large amount of children who are in care. Furthermore, all the children are wearing white clothing, creating a lighter tone in the foreground which could present their innocence and vulnerability. There is also lots of movement amongst them as they play, making them appear dynamic yet fragile, and this contrasts the grey, static and rigid buildings in the background, enhancing the separation between them and the adult world. Salgado balances the dense layer of towering skyscrapers with the multitude of abandoned babies in the foreground. In this image Salgado is presenting the issue of child abandonment and the photo suggests that the issue is as great as the towering buildings behind. The view of the skyline also portrays the idea that they are looking onto their future, as when they are old enough they will have to leave the centre to enter the world that is before them. Through this photograph Salgado wanted to present the harsh reality of the social situation in São Paulo. Babies like these are often unseen and he did not want them to be ignored for this reason, therefore he has presented them to the world.
ROOM 3 : Conflict
The last room exhibits the work of James Hill, it presents two of his series looking at conflict. The first is his work from Afghanistan in 2001, where he looked at the fighting and destruction that took place. The second is his series from Beslan, which look at the aftermath of the Beslan school hostage crisis.
The last room exhibits the work of James Hill, it presents two of his series looking at conflict. The first is his work from Afghanistan in 2001, where he looked at the fighting and destruction that took place. The second is his series from Beslan, which look at the aftermath of the Beslan school hostage crisis.
James Hill
- James Hill was born in 1967 in London, England
- He studied at Oxford University and then went on to study at the London Collage of Printing
- In 1991 he left for the Soviet Union to begin his career as a photographer
- 1995 he joined the New York Times as their European Contract Photographer
- In 1998 he moved to Rome where he covered Italy, the Middle East and Russia on various photo assignments
- After 9/11 he travelled to Afghanistan for 4 months to capture the collapse of the Taliban regime
- In 2003 he went to Iraq with the US marines to photograph in the invasion in Baghdad
- Since 2003 he has been living in Moscow where he continues to work and travel for the New York Times
- In 2009 he published his first book: 'In Russias'
- The following year in 2010 he published his book'Victory Day'
- In 2011 he then created the book 'Dias de San Isidro'
- His work has been exhibited in Moscow, Milan and France
The Beslan school hostage crisis took place in September 2004. An armed Islamic terrorist group took control of a local school, the siege lasted for 3 days and over 1,100 people were held as hostages. 331 people were killed in the terrorist attack, more than 200 of them children. This photograph by James Hill shows the aftermath of the attack at the Russian school. In the background, through the window, you can see the remains of a building. The crumbled walls create a broken texture, which help portray the destruction that took place. This, in combination with the dark windows show the school to be hollow and filled with rubble. The foreground of the photograph is filled with wreaths and offerings for the adults and children that lost their lives. The school has become a place of grievance for the friends and families of the people involved, with messages of consolidation scribbled on its walls. The bright flowers in the front of the image contrast the destruction surrounding them, and could therefore represent the people who lost their lives. James Hill said that "the school is now a place of memories and echoes", and the photographs on the window sill help convey this. The foreground of the image presents the towns grief, while the background and surroundings provide a constant reminder of the attack. The photograph is in black and white and this takes away any vibrance from the image, creating a more solemn atmosphere.
James Hill has taken thousands of photographs throughout his career, but for him the photograph that stands out is most memorable is the photograph above. This image is also from his series on the school siege in Beslan, he said, "It is my most well-known series and also to me the most powerful". The photograph shows a school chair covered in cigarettes. The room where it is photographed is on the second floor where the terrorists killed male relatives who were in the school and then systematically threw the bodies out of the window. Men who knew the people executed would come into this room, light cigarettes and leave them to burn on this chair. Hill said "It looks almost like an art installation, but it has a very specific, and poignant meaning". (Telegraph 'Photographer James Hill on Russia' 2010)
There is a very shallow depth of field and so only the cigarettes are in focus, this in addition to the central composition of the photograph, draws attention to them and makes them the focal point. The long trails of ash on each cigarette convey a sense of abandonment of the school but also act as a sign of respect to the men who lost their lives. The repetitive lines of the cylinder cigarettes piled high on the chair present the magnitude of the attack and the amount of people that were held hostage and killed.
There is a very shallow depth of field and so only the cigarettes are in focus, this in addition to the central composition of the photograph, draws attention to them and makes them the focal point. The long trails of ash on each cigarette convey a sense of abandonment of the school but also act as a sign of respect to the men who lost their lives. The repetitive lines of the cylinder cigarettes piled high on the chair present the magnitude of the attack and the amount of people that were held hostage and killed.
James Hill has photographed war and conflict in different regions. This image is from his series covering the conflict in Afghanistan in 2001. This photograph shows the body of Taliban solider who has been shot in the head as Northern Alliance troops secured the city of Kunduz in Northern Afghanistan. The feet of five young boys surround him. When covering wars James Hill immerses himself amongst the conflict and has therefore had to witness many horrific scenes such as this. He said, "I don't think that I could ever forget what I witnessed during some of these wars, the cruelty and barbarity, as well as courage and cowardice too, but you learn to live with these memories and to cope with them". The right hand-side of the images consists of the mans upper body. Blood surrounds his head and creates a dividing line through the centre of the image between him and the boys surrounding him. This bright, stark line of blood creates a division between the living and the dead. The high, ariel angle that is used creates the sense that the viewer is standing over the body and makes him appear inferior. Hill did not only cover the fighting, but also the dangerous and difficult lives of the everyday Afghan people who had to endure the war in their region. The boys in the left-hand side of the image portray this, as they have to witness the death and destruction that surrounds them. When talking about his work James Hill said, “What you’re seeing is only a fraction of the story, and the question you’re asking yourself is, ‘To what extent is this small part representative of the greater whole?’” (New York Times, June 2010). In this image Hill is only presenting one death, but it also represents the bigger picture, of all the destruction and conflict that is taking place.
conclusion
Researching documentary photography of global issues has furthered my knowledge on different political, social and economic problems, as well as teaching me about the dedication and mind set that is needed to go and acquire these photographs. For example, the courage and determination of Steve McCurry to slip across Afghanistan/Pakistan border. Through my analysis of different images I have also been able to see what photography techniques work well when creating documentary photography, for example looking at both the foreground and background of an image, and using the correct depth of field to enhance your photographs. This is evident in Steve McCurrys portraiture, as he uses a very shallow depth of field in order to focus on the persons face. I looked extensively at the work of , Sebastiao Salgado, Steve McCurry and James Hill, all of which are global photo journalists. Each of these photographers has travelled the world and immersed themselves in different cultures and environments in order to capture different issues. My research into these photographers has assisted my own practical work, as it has led me to become more aware of the composition of my photographs and capturing important moments. Although the work of these photographers is inevitably quite different to mine due to the locations in which they photograph, it has still helped me in seeing what I can present through my photographs, as they have the ability to the relay the socio-economic conditions in different places.
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