Tag Archives: Magnum Photo

Agencies and Photographers | October 2012

Agencies and Collectives

Congratulations to Reportage by Getty Images for their 5-year anniversary.. Their editors have put together a slideshow to mark the occasion, showcasing work by the agency’s represented and featured photographers. …Includes the below classic by one of my favourites, Shaul Schwarz…

Nairobi, Kenya. 2008. © Shaul Schwarz

Reportage by Getty Images: Five Years Old

E-version of the first issue of the agency’s recently launched Reportage magazine….I picked up a print version in Perpignan…Definitely worth checking out…

Photos © Jonathan Torgovnik

Reportage : Reportage by Getty Images magazine

They have a revamped Tumblr too…

Reportage by Getty Images new Tumblr site

VII: Newsletter November 2012 | Newsletter October 2012

VII Photo’s collaboration with Think Outside the Cell (BJP)

Magnum Photo newsletter

Still two months until the end of the year, but NOOR have already done a Year in Review….

NOOR: Year in Review

NOOR: Newsletter October 2012

NOOR celebrates fifth anniversary with Blurb book project (Blurb blog)

Photo seen on the newsletter © Abbie Trayler-Smith

Panos Pictures Newsletter

Prime Collective: Newsletter October 2012

Terra Project newsletter

This looks terrific. I need to get myself an iPad.

Reuters – The Wider Image App | Reuters’ The Wider Image app (editorsweblog.org) ‘New storytelling for photojournalism’ | Reuters releases Wider Image iPad app (BJP)

Carlyle Group completes Getty Images acquisition (BJP)

Addretouch, post-production


Dedicated website to Stephanie Sinclair’s and Jessica Dimmock’s Too Young To Wed project.

Photo © Stephanie Sinclair

Stephanie Sinclair and Jessica Dimmock : Too Young to Wed

James Nachtwey has a new book out today…

James Nachtwey: Pietas (Contrasto) [link to Amazon]

Group project on Afghanistan by impressive list of contributing photographers

Photo seen on the front page © Jonathan Saruk

Razistan | Land of Secrets

Group project on Scotland…

Document Scotland

Saw a friend mention on Facebook that Stephen Shore just launched his first ever website…If indeed true, certainly worth visiting, no?

Stephen Shore

Manu Brabo

Eric Bouvet

Brian Finke

Mike Berube

Lauren Decicca

Julian Germain

Bharat Sikka

Melissa Cacciola

Vittoria Mentasti

Tarrah Krajnak

Brian Driscoll

Thomas Locke Hobbs

Giulia Marchi

Tadej Znidarcic

Jesse Neider

Zac Baillie

Tim Mitchell

Photo © Misha Friedman

Misha Friedman on Verve

David Chancellor on Verve

Alejandro Kirchuk on Verve

Lexey Swall on Verve

Jeremy Sutton-Hibbert on Verve

Massimiliano Clausi on Verve

Mackenzie Reiss on Verve

Pauline Beugnies on Verve

Alvaro Deprit on Verve

Photo © Andew Burton

Andrew Burton on Verve

Allison Joyce on Verve

Andrew Kelly on Verve

Fara Phoebe Zetzsche on Verve

Nadia Sablin on Verve

Myriam Meloni on Verve

Titus Simoens on Verve

Benedicte Desrus on Verve

Maciej Dakowicz: Cardiff After Dark (book) [link to Amazon]

Toby Smith : showreel

Pete Marovich crowdfunding on Kickstarter for project Shadows of the Gullah

Some website updates…

Antonio Olmos new website | new blog

Cathal McNaughton new website

Kiana Hayeri new website

Conor O’Leary new website

Valentin Bianchi new website

James Arthur Allen new website

Marta Wanatko

apertureWEEK: Online Photography Reading Shortlist

  • APhotoEditor and Conscientious Extended do round-ups of the many arguments and comments ignited by an NPR intern’s blog post about never paying for music and David Lowery‘s response to the post, looping in MediaStorm’s recent pay-per-story model announcement and its reception to explore what these kinds of attitudes could mean for the creative fields in general.
  • The highly anticipated, so-called “Google Glasses” were demoed at the I/O conference this week, PetaPixel reports. These camera-equiped goggles, which are set to ship sometime next year, could one day allow point-of-view shooting and instant sharing online. The relatively discreet $1500 device has the potential to bring about the most radical change to street photography since the development of the 35mm film camera.
  • Magnum photographer David Alan Harvey blogs about packing up and heading off to Les Rencontres d’Arles, ”arguably one of the most important international photography assemblages,” where he’ll be doing free portfolio reviews along with the rest of the staff of Burn Magazine. Additionally at Arles, sixty exhibitions by photographers including Sam Falls, Regine Petersen, and Jonathan Torgovnik, author of the monograph Intended Consequences, are on view through September 23.
  • Boston‘s The Big Picture shares photos from LGBT pride events taken around the world, some of which were met with violence and intimidation. The New Yorker‘s Photobooth shares a selection of black-and-white images from the 70s and 80s, “Forty-Three Years After Stonewall,” when a riot at a popular Manhattan gay bar in response to a routine police raid ignited the LGBT rights movement.
  • Feature Shoot shares a terrific hour-long streaming documentary on Magnum Photo founder Henri Cartier-Bresson, “Just Plain Love,” which features backstories from many famous photographs, directed by Raphaël O’Byrne in 2001.
  • Photoshop, the Game, otherwise known as LevelUp for Photoshop, which offers the opportunity for users of the software to improve their skills, learn new features, and win prizes, is free online until July 15, 2012, reports John Nack. Maybe by then, you too can be as good as Kelli Connell, whose exhibition Double Life is on view through this Saturday, June 30.

Monday 4 April 2011

Last week was quiet over here with no updates. Reason being that I was actually busy on assignments. For a change. One day gig to Wiltshire on Monday, and then a little road trip around Wales from Wednesday until Sunday. Pretty tired coming home last night, but will definitely not complain.  I’d love to have more weeks like the one just passed.. It has been looking promising after moving to London… Hope it stays that way…I have some good news in the bag to announce in a week or so, which I’m thrilled about…Trying to keep my big mouth shut for now…so let’s move on to today’s updates…

Five Magnum photographers are doing some road tripping of their own…

Features and EssaysPostcards From America / A Project by Magnum Photos (Magnum Photo: 2011)  | Tumblr | Twitter “In the first of a series of trips around America, five Magnum photographers and one writer will be travelling from San Antonio to Oakland from May 12-26, 2011. Follow Christopher Anderson, Jim Goldberg, Susan Meiselas, Alec Soth, Mikhael Subotzky & Ginger Strand on this unique documentary experiment: Postcards From America.”

Features and Essays – Abbas: Hindus (Magnum Photos: April 2011)

Dominic Nahr’s updated Japan gallery

Donald Weber in Japan….

Features and Essays – Donald Weber: Inside the Exclusion Zone (VII Network: April 2011) Japan

Christopher Morris’ Libya work now also on VII website….

Features and Essays – Christopher Morris: The Cult of Gaddafi (VII: April 2011)

Features and Essays / Talks – Eugene Richards: The Blue Room (Foto8 Vimeo: 2011)

Reportage by Getty Images have renewed their website…

Agencies Reportage by Getty Images

Features and Essays – Luca Zanetti: Inside Seized Drug-Smuggling Submarines (TIME: March 2011) Underwater crafts belonging to Colombian narco-traffickers
Features and Essays – Antonin Kratochvil: Chernobyl (VII Magazine: March 2011)
Features and Essays – Misha Friedman: TB Ukraine (TIME LB: March 2011)
Features and Essays – Larry Towell: Hard Choices (Magnum in Motion: March 2011)
Features and Essays – Gideon Mendel: When the Floods Came (video) (Guardian: April 2011)”Photographer and film-maker Gideon Mendel visited the Sindh province in Pakistan six weeks after the floods hit in 2010, and Queensland and Victoria in Australia during early 2011. Here he presents a unique split screen view of the disasters and the people whose lives they destroyed”
Exhibtions / BooksThe Month in Photography (Guardian: March 2011) Guide to the 20 best photographic exhibitions and books
Interviews – Q&A with David Bailey (Telegraph: April 2011)

Interviews and Talks Lynsey Addario, Tyler Hicks, Anthony Shadid, Stephen Farrell | Captured by Qaddafi’s Forces (NYT: April 2011) New York Times Journalists on Their Experiences “On March 15, four New York Times journalists covering the Libyan conflict were captured. They were freed six days later. Back in New York, they reflected on Col. Muammar el-Qaddafi’s Libya.”

Interviews and Talks Lynsey Addario, Tyler Hicks, Anthony Shadid, and Stephen Farrell (video) (Columbia School of Journalism: April 2011) Related on The New Yorker Photo Booth

Interviews – Lynsey Addario: ‘It’s What I Do’ (NYT Lens: March 2011)

The story AFP and Getty journalists detained and released in Libya (via @slyon66)

Articles – AFP: Four days at the mercy of Kadhafi’s secret state (AFP: April 2011)

News – NYT Lens: Reuters Freelancer Killed in Iraq (NYT Lens: March 2011) Sabah al-Bazee, a 30-year-old freelance journalist for Reuters whose photographs captured the often bloody struggles around the northern Iraq city of Tikrit, was among those killed Tuesday when gunmen dressed in police uniforms and suicide vests stormed the provincial council office there.

News – CPJ: Mexico – Drug war claims young photographer Luis Emanuel Ruiz Carrillo (CPJ: 2011)

Articles – Parting Glance: Michael L. Abramson, 62 (NYT Lens: March 2011)

Christopher Anderson’s amazing Capitolio is being published on the iPad…

InterviewsChristopher Anderson (BJP: April 2011) Magnum Photos member Christopher Anderson has published his latest book – Capitolio – on the iPad. | The app here

BJP is coming to the iPad too

Articles – BBC Viewfinder: From the printed page to the online app (BBC Viewfinder: March 2011)

Interviews – Adam Dean On Covering Japan’s Devastation (PDN: March 2011)

InterviewsJake Price in Japan (BBC: March 2011)

Stories behind the images from 20 years of war coverage by Reuters’ Goran Tomasevic… (via @adamjdean)

Interviews – Goran Tomasevic (Reuters Full Focus: March 2011)

InterviewsTomas Van Houtryve (APE: March 2011)

Interviews – Bill Cunningham : A Rare Bird’s Feathers (NYT Lens: March 2011)

InterviewsNic Dunlop (Bangkok Post: 2011)

Interviews Lu Guang (Lenscratch: 2011)

Interviews – Sebastian Junger (Prime Collective blog: March 2011)

Interviews Ron Haviv (whyy.org: 2011)

InterviewsSally Mann (Charlie Rose: 2003)

Interviews – Alessandra Sanguinetti (New Yorker Photo Booth: March 2011)

Interviews and Talks – Professional Photographer Magazine: Get Exhibited (PP: March 2011) For this latest podcast, the regular team, editor Grant Scott, deputy editor Eleanor O’Kane and award-winning photojournalist Peter Dench, discuss the right way to get an exhibition of one’s work.

David Burnett on covering the last Olympics (via @terakopian)..

Videos – David Burnett: The Olympics You Didn’t See (DB Vimeo: March 2011)

Articles – David Campbell: Paying for photojournalism: a review of the New York Times ‘pay wall’ (DC Blog: March 2011)

Articles – The Atlantic: Photojournalism in the Age of New Media (The Atlantic: April 2011)

Articles – Wired Raw File blog: Crowd Funding for Photography Gets Off to Shaky Start (Wired Raw File blog: March 2011)

Articles – A Photo Editor: Publishing Your Photography Book (APE: March 2011)

Articles – BJP: Photography organisations react to Arts Council England funding decisions (BJP: March 2011)


Help Side Gallery by signing their petition “We, the undersigned, call to the Arts Council England to recognise the regional, national & international importance of Side Gallery and request that it does everything possible to secure the future of this unique organisation.”

Blogs – Jeremy Nicholl: Copyright Grab? There’s An App For That (Photographer’s blog: March 2011)

Festivals – The website for the 2011 Belfast Photo Festival has been launched

Articles – Mike Davis: What is the relationship of photographer with picture editor? (MD blog: March 2011)

Articles – Guardian: Featured photojournalist: David Guttenfelder (Guardian: March 2011) Japan-based Associated Press photographer David Guttenfelder documents the aftermath of the earthquake and tsunami that devastated the north-east of the country

Services Roof Unit : London | blog

Events – Roof Unit :  Artists Preview: New and unreleased work  by Jason Larkin, Ben Roberts, and Laura Pannack : May 18, 2011  : 119 Roman Road, Array, London, United Kingdom, E2 0QN

Awards – Kuala Lumpur Photo awards shortlisted

Photographers Tom Broadbent

Photographers Markus Henttonen

Grants – Luceo Student Project Award

Crowd funding – Ernesto Bazan : Al Campo, an intimate visual look at Cuban rural lifestyle (Kicstarter)

Crowd funding Without (Kickstarter)

Services 10b Photography : Rome (Post-processing)

Awards – The Center Awards results

Blogs – Justin Mott: Recent Work for the Financial Times (Photographer’s blog: April 2011)

Friday saw another April Fool’s Day…I admit, I fell for it for a moment…

RE-35 Digital cartridges for analog 35mm cameras

Asia-Europe Emerging Photographers’ Forum 2009 in Kuala Lumpur

By the end of March, I’ve reeceived an invitation to participate in Asia -Europe Emerging Photographers’ Forum”, a cultural exchange program planned from May 10th through May 19th, 2009 in Kuala Lumpur. Then I’ve realized how much having created Food For Your Eyes Projects could be so grateful. Having such an oppotunity to collaborate with 23 young photographers from Europe and South-East Asia was an awesome experience !

I had also the pleasure to join with a group of coleagues and ressource persons : charismatic Shahidul Alman director of Chobi Mela International Festival of Photography and founder of Drik Agency in Bangladesh, German photographer Peter Bialobrzeski, Hiromi Nakamura curator of Tokyo Metropolitan Museum of Photography, Martin Fuchs also known as the editor behind Magnum Photo Blog.

Siddharth Jain (Delhi) discussing his work with Peter Bialobrzeski during a portfolio-review session on day 3, at Asia-Europe Emerging Photographers’ Forum, Kuala Lumpur May 2009

Our busy schedule was divided between lectures, portfolio-reviews and discussions for the final exhibtion. We had lot of fun for sure, a lot of talks about photography (of course! ) and then we managed to took up a challenge : an exhibtion ready for a public opening scheduled on May 17th at Annexe Gallery , an alternative art space and gallery in Kuala Lumpur

Editing, printing,mounting, hanging, curating for Emerging Photographers’ Forum Exhibition in Kuala Lumpur :

Editing with Ziyuan Wang from Bejing in a photographer’s room turned into a working place during the first evening. Asia Europe Emerging Photographers’s Forum in Kuala Lumpur, May 2009

Agung Nugroho Widhi(Indonesia) looking for printing done. Day 3 at Asia-Europe Emerging Forum in Kuala Lumpur May 2009.

Evening before the opening , Jörg Brüggemann from Berlin, with Hiromi Nakamura, (Tokyo Metropolitan Photography Museum ) hanging Agung Nugroho Widhi photos for Creative Economies group-show at Annexe Gallery, Kuala Lumpur May 2009,

Thanks to Tammy David and Maika Elan for the photos !

Indeed, before the launch of the official meeting in Kuala Lumpur, photographers have been asked to prepare work related with ” Creative Economies ” the thematic focused for Asia -Europe Emerging Photographers’ Forum 2009 .

How can creative photography impact the perception of shifting economies in the globalised world ? In which ways can social cooperation and creativity meet in the space of indeterminate economic capacity ?…… The result was eclectic and chaotic in the beginning but after a high level of collaborative efforts from the group, then it ended-up with a coherent exhibition featuring 23 projects dealing with sustainable economy, gift economy, ressourceful economy, etc in Asia and Europe.

Now the Forum is over but it has left most of participants with the wish to meet again somewhere on the planet !

Participating photographers for Asia-Europe Emerging Photographers Forum 2009 : Tammy David ( Philippines), Siddharth Jain (India), Anastasia Taylor-Lind (UK), Ivor Prickett (Ireland), Jörg Brüggemann (Germany), Rafaela Persson (Sweden), Fernando Izquierdo (Spain), Agata Marzecova ( Slovakia), Assada Poranamond (Thailand), Erna Dyanty (Malaysia), Ziyuan Wang (China), Vignes Balasingam (Malaysia), Agung Nugroho Widhi (Indonesia), Kerstin Duell (Germany), Zhao Renhui (Singapore), Amit Madheshya (India), Angarag Davaasuren (Mongolia), Alex Wong (Malaysia), Maika Elan (Vietnam), Markel Redondo (Spain), Adam Adamus (Poland), Thy Heang (Cambodia), Ahmet Polat ( Nederlands) .

UPDATE : Finally it was decided to develop further our collaboration with ASEF on the topic of Creative Economies, involving selected photographers to participate, and yours trully as a project coordinator. Second Step of the Asia -European project aims to support participant photographers on their ongoing project documenting “Creative Economies” and to organize a touring exhibtion of the works in Europe and Asia  in 2010. More to come, stay tuned….

– The Subotzky Trajectory

At the age of 26, Mikhael Subotzky has already received more prestigious international photography awards, grants and commissions, than most photographers – much less artists – earn in a lifetime. He has exhibited his photographs in notable galleries in Africa, Europe and the US. He is the youngest person to be invited into the rank and file of the illustrious Magnum Photo coterie. And this year, after collecting the ICP Infinity Award for Best Young Photographer, he was invited by seasoned curator Roxana Marcoci to exhibit his new work, Beaufort West at the Museum of Modern Art (MoMA) in New York City. He has achieved all of this in four years. Photo above: Winner of the young photographer award Mikhael Subotzky and winner of the lifetime achievement award Malick Sibide attend ICP’s 24th Annual Infinity Awards.


Born in 1981 in Cape Town, South Africa, Subotzky first began taking pictures in high school. He went on to attend the University of Cape Town where he became the first student ever to earn a perfect academic record. Turned onto the activist photography work of his uncle, the notable photojournalist Gideon Mendel, Subotzky’s university thesis was a photographic documentary of the prisoners in Pollsmoor Prison. The work came after a highly controversial court ruling that gave prisoners the right to vote despite their incarceration.

Pollsmoor also happened to be the prison where Nelson Mandela had spent many long years as a prisoner of the state, and it was in Mandela’s old cell that Subotzky hung his first solo exhibition, Die Vier Hoeke , on the April 27, 2005 – Freedom Day (which carries that name in commemoration of the first democratic post-apartheid elections held on that day in 1994).

That body of work began his phenomenal four-year trajectory. Right away his photographs began earning him accolades in South Africa, and the Goodman Gallery quickly gave him a solo exhibition. Europe showered him with awards. Everyone, it seemed, was ready for his work the instant it came out of the Colenta machine.


Now I will bet there is not an artist or photographer practicing now who can say that they never dreamed of such immediate financial success and artistic recognition, but that simply does not happen often. It breaks the romantic mold of the misunderstood artist who starves until people begin to recognize the genius or the beauty of the artist’s creation. When someone does create a body of work on their first attempt that is so good it completely absorbs all available accolades instantaneously, you have to be wary of him or her becoming a one-hit wonder.

When Duane Michaels, a veteran Magnum shooter bedecked with merit, meets a young photographer, he gives them this advice in Conversations: With Conteporary Photographers : "Don’t try and be an artist. Limit yourself to doing your work, and if the work is true and authentic, it will become art." Such seems to be the case for Subotzky, for underlying his images there is evidence of his uncompromising commitment to his work and his willingness to become fully engaged with his subjects.

Consider the realities of his process for Die Vier Hoeke , in which Subotzky had to convince the wardens of a maximum-security prison to let a white college kid come into their jail house, make friends with, and photograph the inmates. Do you think they were concerned about any kind of ill exposure? (The recognition of how ridiculously overcrowded and filthy the prison actually is, for example.)

To begin an engagement with the prisoners, he taught them about photography, how to shoot and use a camera, and he made them portraits they could send to their loved ones. He had to return to prison day in and day out for more than a year, and sleep with the devastating stories of hardship that lurk in the eyes of so many of Subtozky’s subjects. And definitely do not think it was easy cake getting the wardens to let him hold an exhibition in Nelson Mandela’s former prison cell on Freedom Day. When you consider these realities, you have to recognize and commend all the effort expended outside the actual photographic process.

This is the work that usually separates the passionate photographer from the hobbyist. Anybody can find a nice frame, snap the shutter, and develop and print the picture; but it takes real dedication to do so much work behind the scenes. It reminds me of Edison’s line that, "Genius is 99% perspiration and 1% inspiration," which is probably true of Subotzky’s practice as well, for it seems as though the bulk of his energy is spent not snapping pictures, but developing a rapport with his subjects that will ultimately infuse his pictures with the meaning and emotion one looks for in works of art.

Another crucial aspect of successful documentary photography is the nature of the photographer’s relationships with his subjects. In Subotzky’s case, his subjects are South Africans like himself. Yet unlike Subotzky, they exist in a world of suffering, misery, and in many cases, total hopelessness. This creates a natural duality between the comfort of working near or in one’s home and the discomfort of working with people whose lives are so radically different from one’s own.

When you look at Subotzky’s portraits of the inmates, they appear very open; he is right there in front of them, and they accept him. It is an intimacy born from trust, which is built slowly, piece-by-piece, over time. Writer Joshua Mack noted recently in Art Review (September Issue) that for Subtozky, "photography was a means not only to document what was a foreign reality to him, but also a way to overcome differences and connect with inmates."

Anyone who has carried out work in such emotionally and spiritually exhausting environments can attest to the deep ways that the work alters your perspective. For Subotzky, his perspective is that of a white South African, which adds tremendous undercurrents of political and social implications to his work and process.

Consider this angle: a privileged young white male photographs the abject poverty and despair of black Africans and the wealth and luxury of their fellow white countrymen. The exhibition earns the young photographer plenty of laudations and generous wealth, mostly from white patrons of the arts. The photographs are shown in institutions run by white men (MoMA , FOAM ), where the majority of viewers are also white. If you looked at Subotzky’s path from this perspective, you might be tempted to view him as simply a savvy post-colonial exploiter. But that would be naïve.

There is no way of getting around skin colors in a society where segregation remains a predominant aspect of everything from city planning to daily social interaction. In such a racially charged, environment I would think it takes a tremendous amount of courage and compassion for an affluent white male to step outside of his social strata and willfully engage and make genuine connections with imprisoned black men. And to do so over and over again displays a level of commitment and integrity that underlies all great social change.

In this way his work is more powerful in its moments of creation, when real human interactions are eroding racial stereotypes, than in its exhibition. And if the work succeeds, it is not because Subotzky can use a camera like no one else, it is because his photographs embody his efforts to confront social injustice on a personal level.

Beaufort West

Subotzky’s current exhibition, Beaufort West , at the MoMA reaffirms his position as a dedicated chronicler of South African prison systems while simultaneously revealing his eye for irony and a sly sense of curatorial wit.

There are three categories of people in Beaufort West : rich white men men who hunt, watch sports, and sit in their antiquated colonial enclaves; the desperate and depraved black families who live in the community outside the prison; and the actual inmates. (There is arguably a fourth category – trash field scavengers – comprised of people who live like hungry dogs on the fringe of society.) South Africa’s problems with segregation are subtly invoked in the curation of the exhibition, as each of the aforementioned categories is hung on a separate wall. One possible implication is that these groups of people who supposedly make up a community are actually as disconnected as they have ever been.

Here I disagree with Mr. Mack’s assessment in Art Review that in Subotzky’s photography, "there is no them, only an us." I would argue that there is absolutely an "us vs. them" tension in all of Subotzky’s work, as it is an issue he is attempting to directly confront. The only picture where white men and black men actually interact is a scene of enforced submission as a black prisoner shines the shoes of a white man. Otherwise, there is no blending of class or color in any one frame. The issue of isolation and segregation is only exacerbated by Subotzky’s curatorial decisions to separate the categories of people on to their own walls.

But Subotzky is not without humor and he employs it well, using it to offset the omnipresent sense of doom, addiction and depression in many of the photographs. For example, outside the prison we see all the gory realities of life in this 21st -century wasteland: bums, bandits, the beat-up and the accused.

A young prostitute is getting felt up, gang members are smoking meth, and a rag tag brigade of trash diggers sort through heaping mounds of steaming rubbish. The incarcerated, however, are portrayed in a worship service, in a moment reflection, a moment of subordinate work, and in the serenity of a nap in the afternoon sun. The prisoners are more civil than the civilians!

This unexpected duality and irony brings up questions about chaos and order in relation to a person’s relative sense of freedom. In Beaufort West, where freedom is restricted, order and peace preside. Yet where freedom is unbridled, chaos claims the scene. A free man robs a house – what kind of freedom is desperation? What kind of freedom is the freedom to be poor and drug addicted? Imprisoned men worship the Lord – they are free to believe. There is a covert ratio here that for every person’s sense of freedom there has to be an equivalent amount of sacrifice. You can give up your freedom for peace, or give up your peace for freedom.

The young man may possess a very idealistic sense of the potential of photography to catalyze social awareness and stimulate change, but he is still young. He still has a personal vision to develop, which is something that can only grow with time. The glory of early recognition may be Subotzky’s biggest challenge. He will have to continue to work hard to maintain his position, because from now on we will expect his work to uphold its artistic value, and when it does not it will be our responsibility to point that that out.

But I doubt Subotzky is going to get lazy anytime soon. It seems to be hard wired into his personality to commit himself fully to his projects – with that kind of an effort you can never really fail.

He has seven solo exhibitions lined up for this year. One might be near you, and if it is I would recommend giving it your time.

A little shop-talk : Subotzky shoots with a medium format Mamiya in black and white and color using a variety of lenses. (For his newest series, Beaufort West, he stuck to a 50 mm lens.) He prints at the peak capacity of his film, blowing the images up to 30 x 40 inches-where the grain of the film is not quite yet pixilating – on a digital Colenta printer. He shoots both from the hip and off a tripod, only ever using the natural light. And if you check out his Web site and look at prison panoramas, you’ll get an idea of his extraordinary proficiency in the digital darkroom.