“Talking to people in Gaza, you realise how much the drones are burrowed into their daily lives,” says Daniel Tepper, an American photographer who has been researching and documenting the production and militarisation of drones in Israel since the 2014 conflict in Gaza.
In Arabic, unmanned aircrafts are referred to as ‘zenana’, local slang for the buzzing of a mosquito; in English ‘drones’ take their name from the male honeybee, and the monotonous hum it makes in flight. The Israeli military pioneered the use of drones in combat, employing the technology during the 1982 Lebanon War, and since then people in Gaza have become accustomed to the insidious noise of drones, sounding so close “they could reside beside us”, as Dr. Atef Abu Saif writes in his first-hand account of the 2014 conflict, The Drone Eats With Me. “It’s like it wants to join us for the evening and has pulled up an invisible chair,” he adds.
Despite this familiarity, what’s most scary about the drones is the fact it’s always unclear why they’re out – if they’re doing surveillance, if they’re armed, or if they’re about to strike. During the summer of 2014 the people of Gaza lived under constant surveillance, so much so you couldn’t distinguish a star or a satellite from a drone at night, says Vittoria Mentasti, an Italian photographer who experienced the conflict while reporting on it. According to Hamushim, a human rights group based in Gaza, drone warfare was responsible for almost a third of the 1543 civilian casualties in the 2014 war.
Running during Les Rencontres d’Arles and with an opening week all of its own, Voies Off is a well-established, free, fringe festival. Featuring exhibitions, evening projections, portfolio reviews, and parties – this year sound-tracked by the Africa Fete Festival – it’s the place to discover and be discovered.
Based in the Cour de l’Archevêché in the centre of Arles but with exhibitions running all over town, Voies Off is sponsored by Leica and is screening the 2018 Leica Oskar Barnack Award finalists every night this week except Wednesday. But it also has a well-defined programme of their own, which this year includes an exhibition titled If Slovenia Were… curated by the respected Slovenian/French photographer Klavdij Sluban and featuring work by 19 contemporary Slovenian photographers.
Every year, Cortona On The Move has a focus, and this time it reflects the festival’s mission more directly than before by placing the spotlight on female photographers. “My selection is never a list of ‘favourites’, but rather involves an attempt to listen to what is happening around me, globally, both on a political, social and economic level, as well as in the field of photography itself,” says Rinaldo.
“These past months, women and women’s issues have been at the forefront of discussion in various fields, often in the news and even more on the street – protesting, resisting, demanding. My small contribution to this ‘movement’ is to acknowledge the numerous women photographers who tread the world to tell stories; to give them space and make them protagonists.”
It’s the biggest and best-respected photo festival in the world – it’s Arles and it’s back from 02 July-23 September, with a special opening week from 02-08 July. With the blessing of the French Minister of Culture François Nyssen – who declares that “Arles wouldn’t be Arles without photography” in her welcome to the festival – the 49th year of the festival is lead by director Sam Stourdzé, who took over its organisation in October 2014. As you might expect, the momentous events of May 1968 are commemorated at Arles this year, with a group of exhibitions titled Run Comrade, The Old World is Behind You. Considering events such as the student demonstrations and strikes in France, and the assassination of Robert F Kennedy that year, this section includes shows such as 1968, What a Story! which uses previously unseen images from police archives, Paris Match and Gamma-Rapho-Keystone. Elsewhere Arles looks to the future with a group of shows titled Augmented Humanity which includes work by Cristina de Middel & Bruno Morais, Matthieu Gafsou and Jonas Bendiksen; and in the Emergences section, which includes the ten photographers included in the New Discovery Award this year.
It’s disconcerting to think how years of work and effort, of countless hours spent practising and honing a skill, can be wrenched away from any of us in just a few minutes of misfortune. It’s also, for any of us used to good health, troubling to consider how reliant we are on the basic functionality of our bodies. A photographer, for example, needs to be able to hold a camera, to have the strength to frame a shot and time the click of the shutter in the heat of the moment. Shorn of that basic ability, what are we left with? Early one morning in May 2015, Sim had to face that exact question.
She was on assignment for a French newspaper, travelling to the Tumen Economic Development Zone, a government-owned complex of Chinese factories on the edge of the border with North Korea. Tumen employed North Korean labourers who, with state sanctioning, would be sent to live and work in the economic zone. The brief was to capture how North Korea and China trade. This place seemed like the perfect microcosm for that complex relationship – the makings of great pictures.
Entering Tumen with her driver and colleagues from Le Monde, she failed to spot a sign that read: “No smoking, photography, or practising driving”. As they approached the factories, the car passed a small group of women in black jumpsuits, knelt by the roadside picking weeds from the ground. Sitting in the driver’s seat with the window wound down, Sim instinctively raised her camera and fired off a couple of shots. “Almost immediately, the women turned around, ran towards the cab, and reached into the car,” she wrote in an article for ChinaFile, recounting events.
Magnum Photos just completed its annual AGM and has announced five new photographers are to join as Nominees – Rafal Milach (Poland), Sim Chi Yin (Singapore), Lua Ribeira (Spain), Gregory Halpern (USA), and Lindokuhle Sobekwa (South Africa).
Under Magnum’s system, photographers first join as Nominees, before graduating to become Associates a couple of years later. After a spell as Associates, they then become full Members – a status which confers life-time membership of the world-famous agency. Magnum has also announced that previous Nominees Sohrab Hura (India) and Lorenzo Meloni (Italy) have become Associates.
“I became interested in photography in the late 1940s and began to look at magazines such as Life, Look, and Picture Post,” David Goldblatt told Colin Pantall, writing for BJP in 2013. “In the early 1950s, I tried to become a magazine photographer. I sent my pictures to Picture Post and got rejected. Then, when the African National Congress became active in their struggle against apartheid, Tom Hopkinson, the editor of Picture Post, contacted me and asked if I could make something. So I went to an ANC meeting and photographed everything I saw. That was in 1952.
“I shot and I shot and I shot and then I realised that I was using a long roll of film – film that had failed to engage on the sprocket of the Leica I was using. It was an incredibly basic mistake. But the other thing I realised was that I wasn’t really interested in what was happening around me.
“After the ANC meeting, I discovered I had to understand what I was competent in and what I was interested in. That took some years to probe, until I could get to the underbelly of the society that underlay South Africa. And to understand it visually, I also had to get a grasp on the history of the country. So I did a degree, which included courses in English and economic history. This taught me how to think and understand what was happening around me.
“My father died in 1963. I was 32 with three children and a family, but I sold the shop [the family business] and, with a couple of Leicas and the capital to keep on going for a year, I became a full-time photographer.”
“They had this amazing enthusiasm; a very creative enthusiasm,” says Peter Kennard, the well-known photomontage specialist and early member of the radical photography collective Half Moon Photography Workshop. “Camerawork contained all the different debates that were going on in photography at the time, but it was practical as well. The whole thing was about democratising photography.”
Radical Visions, a new exhibition at Four Corners in East London, reveals the lesser-known history of Camerawork magazine and its creators, the Half Moon Photography Workshop. The exhibition coincides with the launch of the Four Corners Archive, which has made all 32 issues of the magazine publicly available to view online.
The collective’s aim was to demystify the process of photography, and to use it as a tool for social change and political activism. The first issue of Camerawork, The Politics of Photography, published in February 1976, was stark black-and-white litho print on a broadsheet format – sheets of A2 paper folded to A3, then to A4 – and sold for 20p. It was pulled together over an all-night session fuelled by bagels and coffee at the Half Moon’s first studio in Chalk Farm.
“I think women photographers are very good at building relationships with their subjects” says Sirkka-Liisa Konttinen, co-founder of Amber, a film and photography collective based in Newcastle that aims to capture working-class life in North East England. “They are more interested in the personal stories, and through these they get a much more intimate look into their subject’s lives.”
Women by Women is a major presentation of the work of five female photographers working in the North East from the 1970s – 2000s. Curated by Konttinen, the photographs are drawn from projects originally commissioned by Amber, and the exhibition forms part of Idea of North season at the BALTIC Centre for Contemporary Art in Newcastle.
“The North is often associated with the male more than the female, in terms of what has been documented,” says Konttinen. “I thought it [the show] would make a strong statement about our collection being more balanced than is perceived by the outside world. It’s the idea of bringing women into the picture of the whole concept of the North.”
Yassine Alaoui Ismaili (Morocco), Paul Botes (South Africa), Anna Boyiazis (USA), Tommaso Fiscaletti & Nic Grobler (South Africa), and Phumzile Khanyile (South Africa) are the five winners of the seventh CAP Prize. Open to photographers of any age or background, the CAP Prize is awarded to work that engages with the African continent or its diaspora.
Born in 1984 in Khouribga, Morocco, Yassine Alaoui Ismaili – aka Yoriyas – lives in Casablanca and has been awarded his prize for the series Casablanca Not the Movie (2014–2018). “It is both a love letter to the city I call home and an effort to nuance the visual record for those whose exposure to Morocco’s famous city is limited to guide book snapshots, film depictions or Orientalist fantasies,” he says.