{"id":1547,"date":"2009-05-08T17:59:34","date_gmt":"2009-05-08T17:59:34","guid":{"rendered":"http:\/\/www.foto8.com\/live\/?p=1547"},"modified":"2009-05-08T17:59:34","modified_gmt":"2009-05-08T17:59:34","slug":"world-press-photo-09-by-paul-lowe","status":"publish","type":"post","link":"https:\/\/www.foto8.com\/live\/world-press-photo-09-by-paul-lowe\/","title":{"rendered":"World Press Photo 09 by Paul Lowe"},"content":{"rendered":"<\/div>\n\n\n\n
The World Press Photo Awards days held in Amsterdam recently had \t\t\tsomething of an ‘after the party has ended’ feel to them, when you look \t\t\taround at all the wreckage and wonder how you are going to clean up all \t\t\tthe mess, but know with some effort and imagination you can maybe get \t\t\tit all back into shape before your parents return…<\/p>\n

This wasn\u2019t just \t\t\tbecause it took place this year just after Queen\u2019s Day, the mad party \t\t\tthat transforms the normally clean and tidy Dutch streets into \t\t\tquagmires of crushed beer cans, squashed orange cowboys hats and \t\t\tgarlands of orange balloons floating away forlornly in the morning \t\t\tbreeze.  This year too it had an extra, disturbing quality when the \t\t\tusually joyful celebrations turned to horror when a car careered \t\t\tthrough the crowd, killing and maiming on its way, transforming a party \t\t\tinto a wake in seconds, bringing the world of World Press to  the \t\t\tstreets of Holland. There was a lot of talk of how to survive the \t\t\trecession, of how to find new \u2018business models\u2019, and of how to explore \t\t\tnew ways of connecting with the audience, but still a sense that there \t\t\tis still to much mess to be cleared up before we can really set the \t\t\troom straight again and get on with planning the next party.<\/span><\/p>\n

The \t\t\tawards have now really established them as a vital date in the \t\t\tphotojournalistic calendar, with the unique opportunity to see 30 or so \t\t\tphotographers present their work to an audience in the packed Felix \t\t\tMeritis; some excellent, some good, some not so good, but as always \t\t\tplenty of gems in there. For me one of the highlights was to realise \t\t\tthe depth and breadth of the 8-year odyssey Antony Suau has engaged on \t\t\tafter returning to the USA after his mammoth project on the \t\t\ttransformations in Eastern Europe and the former Soviet Union. This new \t\t\twork provides a fitting counterpart to his documentation of the decline \t\t\tof one of the cold war superpowers, as he has engaged with the issues \t\t\tthat threaten to trigger the decline of the other; the divisions over \t\t\tthe Iraq war, the far right, and of course now, his prize winning \t\t\tseries on the economic crisis. <\/p>\n

<\/span>\"wpp09_tonysuau.jpg\"
Tony Suau<\/span><\/p>\n

For once, it was satisfying to see an \t\t\toverall prize winning picture emerging as just the tip of the iceberg \t\t\tof a far larger project, and giving that project a new prominence that \t\t\tit richly derived. Emotional, ironic, witty and challenging, Suau\u2019s \t\t\twork from America had the feel of a sustained critique of a fallen \t\t\tempire, the devastation the Bush legacy has left at home as much as \t\t\taboard.<\/span><\/p>\n

\"wpp09_stevemayes.jpg\"
Steve Mayes<\/span><\/p>\n

Stephen Mayes gave a valedictory speech as his \t\t\tretirement gift to WPP, beautifully presented and illustrated with over \t\t\t200 of his own intimate behind the scenes images of the judging process \t\t\tover the last few years. With a wry smile,  he offered 3 golden rules \t\t\ton how to win an award at WPP:<\/span><\/p>\n

Rule 1 Is to enter! Don\u2019t try to anticipate the jury and how they will think, just put in your best pictures.<\/span><\/p>\n

Rule 2 Bad pictures don\u2019t win. The discussions about winning pictures are always  between good pictures<\/span><\/p>\n

Rule 3 Get published the jury will pull out unrecognised unknown pictures but being a little familiar does sensitise the jury<\/span><\/p>\n

But \t\t\tof course, he did note that statistically your best chance of winning \t\t\tis if you are American, male and shoot in black and white.<\/span><\/p>\n

Stephen \t\t\tlaid down the gauntlet to the Awards, however, and by extension to the \t\t\tprofession, in analysing the trends he has observed over his time as \t\t\tsecretary. Quoting one juror as commentating that 90% of the pictures \t\t\tsubmitted were about 10% of the world, he questioned why most \t\t\tphotojournalism investigates a very limited series of tropes in a very \t\t\tlimited series of visual approaches, becoming a self replicating \t\t\tmachine that churns of copies of itself in perpetual motion, which he \t\t\tdescribed as a \u2018feeling that photojournalism, rather than trying to \t\t\treinvent itself its trying to copy itself \u2018, and that the industry is \t\t\tin essence reactionary and unrealistic in its understanding of the \t\t\tchanges in global media and society.  Too many photographers are \t\t\t\u2018reflecting the media not as it is but as we wish it was\u2019 and assuming \t\t\tthat it is the world that must come to them, not they that must go to \t\t\tthe world. Bemoaning the surfeit of stories about the \u2018Dispossessed and \t\t\tpowerless, the exotic and anywhere but home\u2019 he encouraged \t\t\tphotographers to \u2018photograph what really, really intrigues you\u2019, \t\t\tcommenting that \u2018In general what is really missing in photojournalism \t\t\tis work that is really intimate and personal\u2019.<\/span><\/p>\n

One \t\t\tcould not get much more intimate and personal, of course, than the work \t\t\tof the keynote speaker at the Awards. In a continuation of the seeming \t\t\tdesire of WPP to throw the cat among the pigeons, The Sem Presser \t\t\tlecture this year was again delivered by someone from outside of the \t\t\tphotojournalism genre, Nan Goldin. Or rather, it was not Nan Goldin, as \t\t\tshe opened her performance by declaring that \u2018 Nan Goldin is dead, if \t\t\tyou have come to see her you had better go home now !\u2019 <\/p>\n

<\/span>\"wpp09_nangoldin.jpg\"
Nan Goldin<\/span>

In a bravura \t\t\tpresentation that had many in the audience wondering if she would make \t\t\tit through to the end, she covered her life in pictures, in a literal \t\t\tsense as her autobiographical exploration of human relationships, \t\t\tpsychologies and emotions. She echoed Mayes\u2019 desire to see more work \t\t\tfrom communities the photographer lives in rather than the exotic, \t\t\tdeclaring \u2018 I think you can only really photograph your own tribe\u2019. Yet \t\t\tin a gratifying admission for the audience, she admitted that despite \t\t\ther early animosity to journalism, that the need to find out about the \t\t\trest of the world had led her to a realisation that to photograph \t\t\tsomeone else\u2019s tribe in a far away land could have some validity in \t\t\tinforming us of the lives of far away others. <\/p>\n

In watching her on stage, \t\t\tI realised that the key to her entire life and work is that it is one \t\t\thuge performance, whether carefully judged or spontaneous. She showed \t\t\twork she had shot on assignment for the New York times, as well as an \t\t\tunusually romantic set of photographs that chronicled her love affair \t\t\twith an Egyptian ship\u2019s cook, a much softer and more lyrical work than \t\t\ther often hard edged New York pictures. In a self contradictory, yet \t\t\talluring statement, she declared that \u2018you out to have a license to \t\t\thave a camera these days\u2019, a statement that found much favour in an \t\t\taudience feeling threatened by the rise of citizen photojournalism and \t\t\tthe catastrophic demise of much of the editorial market.<\/span><\/p>\n

Whether \t\t\tMayes\u2019 call for a more inclusive, less exotic and more emotional set of \t\t\tentries will be realised this time next year remains to be seen, but \t\t\tfor sure the Awards will be worth being at to find out.<\/span><\/p>\n

Paul Lowe<\/span>
Course Director<\/span>
MA Photojournalism and Documentary Photography<\/span>
London College of Communication<\/span> <\/td>\n

\"Anthony<\/a>
Anthony Suau
World Press Photo 2009<\/span><\/p>\n

\"Claudia<\/a>
Claudia Hinterseer
Noor Photo Agency<\/span><\/p>\n

\"Pep<\/a>
Pep Bonet
Photographer<\/span><\/p>\n

\"Brenda<\/a>
Brenda Anne Keanally
Photographer<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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The World Press Photo Awards days held in Amsterdam recently had something of an after the party has ended feel to them, when you look around at all the wreckage and wonder how you are going to clean up all the mess, but know with some effort and imagination you can maybe get it all back into shape before your parents return .<\/span> <\/p>\n","protected":false},"author":1,"featured_media":1540,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[19],"tags":[788,790,789,49,786,787,785],"jetpack_publicize_connections":[],"yoast_head":"\nWorld Press Photo 09 by Paul Lowe - 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