BA PHOTOJOURNALISM

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Special Issue 2013

nized “©” symbol (although it is worth noting that a few countries will not accept the symbol alone), accompanied with the year of pub-lication and the copyright owner’s name. As well as this it is wise to add your copyright information into the metadata of the image.

Although copywriting images will take up time and can cost money, unfortunately we are in a position now that if this is not done, there is a chance of potentially putting yourself at risk of infringement and losing the rights to your own photograph.

those tribes, animals, even plants and trees, that soon enough will disappear if the extermination doesn’t stop.

Sebastião Salgado gave himself the task of revealing to us the PDJQLÀFHQFH�RI�IRUJRWWHQ�ZRUOGV��‘Genesis’ is his visual tribute to these remote parts of the planet.

The world-première of his exhibi-tion at London’s Natural History Museum offers visitors the chance to learn about some of the most endangered places, species and people struggling to survive. With his masterful images Salgado manages to capture the true essence of the moment or place – making us part of it. Even though there is no sound or video with the exhibition (so common today), in some very particular way we can imagine the silence of nature, its strong voice when the birds sing, the power of the waterfalls in Amazonia, the joy of tribal people bathing in the rivers. There is no need of moving images as each still picture makes us dream of an untouched world but then at the same time wakes us up screaming help!We are strongly pulled into the frame just by looking at it: every photograph is unique, perfectly re-ÁHFWLQJ�WKH�PDJLF�RI�WKRVH�SODFHV��Salgado chose to visit each one of them after talking to UNES-CO scientists: he photographed some of the most isolated tribes; spending time with them, living as they do, making them unaware of the camera, and comfortable with it. By looking at all these splendid images we are “completely diso-riented, ” a lady said to her friend, at the end of the tour. In fact, Sal-gado manages to share his unique experience taking us on a tour by starting with exposing images of the “Planet South” where he masters the lighting in every shot; followed by the “Sanctuaries”

photographs where his unique photographic skills truly show: he reports Indonesian tribal people’s way of living as if he was one of them. Those images are pure, em-anating serenity and the choice of classifying them under ‘Sanctuar-ies’ makes them stand out. We then arrive in Africa, where we are shocked by Ethiopian beauty and culture. We are here to be informed not to give our own judgment but some don’t understand and freely say things like “it’s horrible, isn’t it?” referring to Ethiopian women wearing lip plates. It is part of their culture that we get to know by looking at Salgado’s portraits. His subjects are proud of their beliefs and cultural rituals and we should remind our-selves how important cultural respect should be in everyone’s life. We then get onto the ‘Northern Spaces’ where a feeling of abandonment inhabits our spirits. Cold Rus-sian sceneries make you feel powerless against something that Man can’t face. Almost miraculously, the Nenets, the only Siberian surviving tribe, have never left their land. Incredible shots show their nomadic life-style, always being on the move. “It’s quite extraordinary, the way they survive. It’s absolutely extraordinary.” – another viewer comments when looking at the last photograph before moving

onto the last part of the world Salgado has chosen to share with us: ‘Amazonia and Pantanal’. He took us on a discovery tour of this area, where the water is enhanced in almost every shot – human, animals and plants can’t

live without it. The way Salgado SOD\V�ZLWK�WKH�OLJKW��UHÁHFWLQJ�on the water, making rivers and seas glitter as a jewel we need to protect. His special focus on traditional lifestyles that enable indigenous people to survive shows us how important it is to SD\�DWWHQWLRQ�DQG�ÀQG�D�ZD\�WR�help these tribes not to disappear

Lately there have been dramatic changes to the way companies can use photographic material upload-ed on to the Internet. Many of us, both professional and amateur, upload photographs online every day. But do we really know how these images can be potentially used?

It came as a shock to many pho-tographers that there has been a new legislation passed in Parlia-ment that has legalized the use of copyrighted images, as long as reasonable steps have been taken to attempt to identify the owner of the work. These images, known as “orphan works”, are sparking a number of debates around the issues associated with this new

You don't own your pictures anymore

world premiere of Sebastiao Salgado's genesis

legislation. The material catego-rized as “orphan works” will be placed in to “extended collective licensing” schemes, which gives permission for the work to be used without the copyright own-er’s knowledge. This work can then be licensed for either com-mercial or non-commercial use.

So what does this mean to us, and what can we do about it? Put sim-ply, if we photographers upload our material on to the Internet without registering our work accordingly through a registry, we are putting ourselves at risk of companies using our images without our knowledge and we in turn, lose out on potential money and deserved credit.

On the other hand, for a company to use material found online a ´GLOLJHQW�VHDUFKµ�WR�DFWLYHO\�ÀQG�the copyright owner must have been undertaken, without any success. Furthermore, it has been FRQÀUPHG�WKDW�UHSUHVHQWDWLYHV�from the photographic profession ZLOO�EH�LQYROYHG�LQ�GHÀQLQJ�ZKDW�a ‘diligent search’ means and what steps need to be taken. This search must then be proved to an independent body, which must agree that the search was thorough and extensive. The company then pays the appropriate license fee known as the “market rate,” which is in place to recompense the original copyright owner if they come forward and prove that the work was theirs. Although

it still remains questionable how often copyright owners will come forward, considering the endless amount of publications that exist and the probability of stumbling upon your own work.

What must be stressed is the importance of copywriting your images in order to avoid such a situation. Once you have regis-tered with a copyright service you gain valuable evidence verifying the ownership to your work. If a company then uses your images without your knowledge you have a solid platform for a claim in court. It is also advisable to mark your work with a copyright notice, which should include either the word “Copyright” or the recog-

By Lorna McColl

~

Since elephants (Loxodonta africana) are hunted by poachers in Zambia, they are scared of humans and vehicles and usually run quickly

into the bush when approached. However, here the elephant charged the vehicle, and the driver quickly drove away. Kafue National Park,

Zambia, 2010 © Sebastião Salgado / Amazonas Images / nbpictures

Sebastião Salgado’s photographic exhibition

Genesis was unveiled on 11 April at the National

History Museum. With 200 photographs, the

exhibition runs through 8 September 2013.

By Clementina Calleri

IRUHYHU��7KH\�ÀQG�HYHU\WKLQJ�WKH\�need in the nature, but if we keep destroying it we will get to the terrible point where nobody will be able to help anymore.

With Genesis, Salgado is raising his voice by sharing powerful and sublime photographs of our unique planet: he ‘talks’ for all

The collaborative project module was introduced for the 2nd year students across the

entire university. The photojournalism course worked alongside a professional designer

to create small books or magazines. Here is a selection of some of the works.

collaborative project

Three years ago when I started the BA Photojournalism course at LCC, I had a great passion but very little knowledge of news pho-

tography. But in London’s incredible news rich environment I found myself photographing news stories everyday and doing profes-

sional press photography in my second year of the course. London has so much to offer, you have demonstrations, spot news, inci-

dents, crime, press conferences, photocalls, politics, premieres, royals and big events. News photography keeps you on your toes with

news agenda as you try to guess things which are going to happen before they do so that you can photograph them. It keeps your mind

constantly busy. And even at the least expected moments you need to be ready to get out and start photographing. And you know that

every story you photograph is a challenge with the subjects and people you photographing of and it’s a race with the other photogra-

phers.

:KHQ�WKH�6\ULDQ�FRQÁLFW�VWDUWHG�LQ�VXPPHU������6\ULDQ�UHIXJHHV�ZHUH�FURVVLQJ�LQWR�7XUNH\�HYHU\GD\�LQ�JUHDW�QXPEHUV��,W�ZDV�VXFK�D�ELJ�LQWHUQDWLRQDO�QHZV�VWRU\�,�GHFLGHG�WR�WUDYHO�WR�7XUNLVK�6\ULDQ�ERUGHU�WR�SKRWRJUDSK�LW�DV�P\�ÀUVW�VXEPLVVLRQ�WR�D�SURIHVVLRQDO�QHZV�picture agency. From then I went on shooting news and reportage stories around the world for various agencies and sold pictures to all

the UK national newspapers as well as international newspapers and magazines.

A day can start quietly and you might be asked to go to various places that you have never been before and take pictures of people that

you have never met. You never know how a day will turn out, sometimes you leave home in pursuit of a weather picture and end the

day photographing the Queen or Prime Minister. Sometime in this job makes you are witness to historic moments and have privileged

access to situations that the public never would. Mostly it is a challenge to make ordinary things appear exciting. The best part of the

job is seeing your pictures in newspapers along with your name.

NEWS PHOTOGRAPHY By Tolga Akmen

Prime Minister David Cameron addresses the audience at the Conservative Party's Spring Forum in

Cardiff.

A student protester posing with a police riot helmet, next to a damaged police van in Whitehall as

students protest against the offered increase of the tuition fees.

A suburban house is engulfed by lightning storms as they strike the Central Anatolia region in Turkey

after a dry summer season.

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north koreaThe majority of headlines on the Democratic People’s Republic of Korea (often referred to as North Korea) are about the country’s military ambitions of their young podgy dictator, Kim Jong-Un. As a result of this, North Korea’s 20 million citizens are regularly forgotten, so when I was offered the opportunity to travel to the Hermit Kingdom I jumped at the chance to visit one of the least documented countries on Earth.

All travel in North Korea has to be sanctioned by the government, with most visits being conducted through D�VPDOO�JURXS�RI�ZHVWHUQ�WUDYHO�FRPSDQLHV�ZKR�RSHUDWH�ZLWK�WKH�SHUPLVVLRQ�RI�WKH�RIÀFLDO�'35.�WUDYHO�agency KITC (Korea International Travel Company). After crossing the Chinese border into the North .RUHDQ�WRZQ�RI�6LQXLMX��,�HQFRXQWHUHG�P\�ÀUVW�WDVWH�RI�ZKDW�WU\LQJ�WR�GRFXPHQW�WKH�'35.�ZRXOG�HQWDLO��,�was photographing a propaganda poster on the station from inside my cabin whilst the train waited, when an angry North Korean soldier barged in, grabbed my camera and stormed off the train. After running after him, I found myself in the middle of four soldiers on the platform, one who was looking through my camera, two were just standing there and the soldier who had taken my camera was staring angrily at me, despite my best diplomatic smile. Eventually I retrieved my equipment and continued to Pyongyang.

Once in the Pyongyang, I was greeted by my North Korean guides, who travelled everywhere with me, con-VWDQWO\�ZDWFKLQJ�WR�PDNH�VXUH�,�ZRXOGQ·W�VWUD\�WRR�IDU�IURP�WKHP��,Q�P\�ÀUVW�WULS�P\�JXLGHV�ZHUH�H[WUHPHO\�strict on wandering off, I was even lectured for rushing to a toilet without consent. My challenge was to gain their trust and convince them that I wasn’t trying to work against them, this was mostly achieved through evenings spent drinking alcohol together, which (at times) allowed us to talk frankly about our respective lives. One guide spoke about life during the famine of the mid 1990’s, in which between 500,000 and 3.5mil-lion people died after the collapse of the Soviet Union combined with several bad harvests.

When photographing people in the DPRK I tried to avoid bringing attention to myself in order to capture FDQGLG�PRPHQWV��KRZHYHU�DV�D�VL[�IRRW�WKUHH�(XURSHDQ��WKLV�ZDV�GLIÀFXOW��GHSLFWHG�LQ�P\�LPDJH�RI�D�FKLOG�covering his face with his hands. I was being driven through the city of Hamhung (which had only been open to visitors for a short period by the time I got there, meaning that many residents had never seen a west-HUQHU�EHIRUH��ZKHQ�,�QRWLFHG�WKH�PDLQ�FLW\�VTXDUH�ÀOOHG�ZLWK�VFKRRO�FKLOGUHQ�SUDFWLFLQJ�IRU�PDVV�J\PQDVWLFV�performances. I got out and walked towards the square, the children quickly realised I was a westerner and VWDUWHG�VFUHDPLQJ�ZLWK�H[FLWHPHQW��WU\LQJ�WR�JHW�WKHLU�SKRWRV�WDNHQ�E\�PH��7KH�FKLOG�LQ�P\�SKRWRJUDSK�ZDV�playing peek-a-boo with me, to the confusion of the girl to his right.

2QH�RI�WKH�KLJKOLJKWV�RI�P\�WLPH�LQ�WKH�'35.�ZDV�WKH�$ULUDQJ�0DVV�*DPHV��,W�LV�RIÀFLDOO\�WKH�ODUJHVW�PDVV�gymnastics performance in the world. The two-hour show takes place on a daily basis for around two to three months a year. 100,000 performers, each train for up to two years to participate and perform to a crowd RI�DSSUR[LPDWHO\������������7KH�WZR�KRXU�VSHFWDFXODU�XVHV�GDQFH��J\PQDVWLFV�DQG�RWKHU�PHWKRGV�WR�WHOO�Korean folk stories and other important North Korean events, such as the birth of Kim Jong-Il and a portion is devoted to celebrating their alliance with China.

By James Gourley

Far Left: Korean soldiers from both the South and North stand guard on the demarcation line in the joint security area in Panmunjom, which has separated the Korean peninsula since 1953 when the Korean war was ended with an armistice, but no peace treaty.

Left: People seen riding along a dirt track in the country side between Pyongyang and the border city of Kaesong.

Bottom: Pyongyang, North Korea. Thousands of Tae Kwon Do experts perform a synchronised routine as part of the Arirang Mass Games in Pyongyang. The 100,000 performers train for up to three years before being ready to perform at the event, which takes place nightly for around two months in summer each year.

Bottom Left: A young child pictured under por-traits of former North Korean leaders Kim Il Sung and Kim Jong Il on the Pyongyang metro. Pyong-yang has the deepest underground rail network in the world, with stations allegedly doubling as nuclear bunkers

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By Dave Shaw

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The environmental degridation of

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There are currently 200,000 migrant domes-tic workers in Lebanon, a small country of four million. Maids save on rent, bills, and food costs living with their employers. Cari-tas Migrant Center, an NGO which aids and shelters maids who have run away from their employers, are receiving between three and six cases of abuse per day, from abuses that UDQJH�IURP�UDSH��SK\VLFDO�YLROHQFH��WUDIÀFN-ing and starvation.

By Natalie Naccache, BAPJ AlumniAbove: Miles, 25, a migrant domestic worker from the Phillippines takes the dishes back to the kitchen, in her employer’s family home in Beirut, Lebanon. She wants to extend her contract with her employer because she says she is “so happy” working at the family home and feels really lucky to have such a job.

Below Left: Two maids in their employers homes, Beirut, Lebanon

Below Right: Jane, a housemaid from the Phillipines watches Sara and Alia at her employer’s home in Bchamoun, Lebanon. Jane has worked for the Abdel Baki family for six years, “I treat them like my chil-dren. As long as I can send money to my family I will work, my eldest son is in secondary school, I want him to graduate.” Rana, Jane’s employer and mother of three children, says “we are lost without Jane, I used to forget my medicines when she wasn’t around, everything is perfect when she’s here. We give her bonuses and gifts, we can’t thank her enough for what she does around here.

Human Rights Watch in 2008 reported that “domestic workers are dying in Lebanon at the rate of one a week”. There is no law to protect migrant workers in Lebanon. On arrival, most domestic workers are FRQÀQHG�WR�WKH�KRXVH��DQG�WKHLU�SDVV-SRUW�FRQÀVFDWHG��:KHQ�WKH\�HVFDSH�WKHLU�employer’s home, they become an illegal resident in the country, due to the sponsor-ship system that operates in the country.

"No, maddam"

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Iraq's hidden legacy

Above Left: Kirwan, a mine detection dog (MDD) team supervisor for the Khabat Zangana company tests one of his detection dogs, at the Mines Advisory Group's MDD training field near Chamchamal in Iraqi-Kurdistan. Although the training facility belongs to the Mines Advisory Group it is used by other organisations needing to train demining dogs and is the only ac-creditation area in Iraq where dogs can be tested by the GDMA before being allowed to work in minefields. Defused mines, containing trace amounts of explosives, are buried for up to three years in the training area to allow particles to permeate the soil enough for dogs to be able to detect them. The plots containing the mines are divided into 10 metre by 10 metre plots as per the demining procedures used in Iraqi-Kurdistan. During testing for accreditation dogs are expected to find all mines in the plot; missing a buried mine will result in the dog failing to meet the required level and having to be retested.

Right: 36 year old Stara Sallah of Said Sadiq prepares to have her new prosthetic leg fitted at the Emergency Rehabilitation Centre in Sulaymaniyah, Iraqi-Kurdistan. Stara lost her leg in 2009 after standing on a mine near the Iran Iraq border town of Penjwin. The mine is thought to have been the only one left after a demining company cleared the area.

Left: Deler Nasar, a deminer, prepares to search for mines and UXO in 'overs' using a Vallon mine detector during mechanical demining operations near Kalawy in Iraqi-Kurdistan. The 'overs', taken from a minefield laid by Iranian forces during their occupation of the area for a long period during the Iran-Iraq war, are made up of rocks and material too big to be sifted after excavation; deposited on a flat area the overs will be scanned and sorted by deminers with mine detectors to locate mines.

Above: Farmers use scythes to harvest fodder that will be used to feed livestock during the winter months in a valley close to the town of Penjwin in Iraqi-Kurdistan. The area was occupied by both sides for prolonged periods during the Iran-Iraq war with large portions of the hillsides containing mines.

Right: A Khabat Zangana Company deminer marks out a safe lane as he prepares to look for mines in 'overs' during mechanical demining operations near Kalawy in Iraqi-Kurdistan. The 'overs', taken from a minefield laid by Iranian forces during their occu-pation of the area for a long period during the Iran-Iraq war, are made up of rocks and material too big to be sifted after excava-tion; deposited on a flat area the overs will be scanned and sorted by deminers with mine detectors to locate mines and UXO.

By Matt Cetti-Roberts, BAPJ AlumniThe United Nations estimates that Iraq has 20 million landmines and up to 50 million cluster mu-nitions. Most mines and unexploded ordnance (UXO) are in the area of Iraqi-Kurdistan. The Iraqi Army laid minefields along every border in this region - Iran, Syria, Turkey and Southern Iraq. More minefields were laid inside the province during fighting between Iraqi forces, the Kurdish Peshmerga and Saddam Hussein’s al-Anfal genocide campaign against the Kurdish population.

Each minefield was created with one aim: denying land to the enemy. After the war the local pop-ulation become the victims unable to use their land for farming and left without incomes until the minefield is cleared.

Mine clearance by agencies such as the Mines Advisory Group (MAG) is slow and risky. Surveys must be completed, boundaries marked and a plan of action drawn up. Demining often stops com-pletely because of the Winter snows.

Many people lose limbs, sight or life from the munitions littering the countryside until the land is cleared. The majority of casualties are men of working age - the shepherds, farmers and cattle herders working on land handed down generations of extended families.

MAG also educates communities about the dangers of landmines and UXO that surround their homes, trying to reduce the damage caused by future generations. Although the UN has declared that Iraq should be clear of landmines by 2018, the sheer volume of munitions spread across such a remote region makes this an unlikely target.

Despite the scale of the problem, de-mining and rehabilitation work by organisations includ-ing KORD, Handicap International and Emergency UK is having an effect. Every piece of land cleared and every patient treated represents a fresh start for another family. But without funding, the UN’s aims may never be met.

Iraq's hidden legacy

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The women of no whereKakuma Refugee camp in the Turkana County of Northern Kenya is home to a multitude of displaced peoples from across East Africa. Amongst these refugees are a large number of women from communities where they are considered second class citizens and are often subjected to some form of marital abuse.

Within Kakuma Refugee Camp, (the name means ‘nowhere’) a variety of NGOs are working hard to educate these women, both at a young age and when adults. In the schools the classes are mixed sex giving the young women the same advantages as their male classmates and helping to change attitudes amongst the young as to the capabilities and the roles of women in society.

Workshops are held for those who were or are victims of emotional or physical abuse. They teach usable skills like tailoring and the women earn a wage giving them a degree of independence from their husbands as well as a feeling of self worth.

Above Left: A group of women from different communities who have been victims of some form of abuse within their societies, come together to learn sewing skills. These skills will be used in producing clothing that will be sold on camp, providing a wage and giving them a degree of independence from their families or spouses. Kakuma Refugee Camp, Kenya. 1st March 2012.Above: Woman’s feet protrude from under a table upon which they are learning the skills needed for a job as tailorers in Kakuma Regugee Camp, in Northern KenyaRight: A young Somali girl, dressed in full Hijab, crosses the road in the early morning haze, on her way to school. Kakuma Refugee Camp, Kenya. 3rd March, 2012.Below Right: Classes in Kakuma Refugee Camp are mixed sex and are given in English. 1st March, 2012Below: Examples of some of the work produced by the women of Kakuma Refugee Camp.

By Sean Power, BAPJ Alumni

The livelihood of dairy farmers in Britain today is under threat because wholesalers and retailers are paying less for their milk while the cost of animal feeds and fuel escalate. In an effort to survive farmers are adopting new approaches to increase productivity.

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milk By Alastair Johnstone

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Fishing in cornwall By Tom Nicholson

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Welcome to the wonderful world of the London Burlesque Festival. Now in to its 7th year, the SUHVWLJLRXV�HYHQW�VKRZFDVHV�VRPH�RI�WKH�ÀQHVW�burlesque acts from around the globe establishing it as the most talked about event in the burlesque diary. Brought to you by Chaz Royal, the infamous king of Burlesque . London Burlesque Festival is chock-a-EORFN�ZLWK�D�VFKHGXOH�RI�KLJK�SURÀOH�HYHQWV�E\�VRPH�of the most diverse and electrifying burlesque acts in the business. Erotic circus acts, sizzling stripteases to the more Avant Garde shows brings a host of glamour, vaudeville and erotic striptease to this years most glamorous burlesque fest yet. This year’s ten dazzling events are held at the historical Madame Jo Jo’s, one of the original cabaret spots in London’s Soho. The shows infamously sell out fast, but If you’re lucky enough to get a ticket, Twisted Cabaret, a show of wonderfully weird alternative cabaret and BOYLESK, stripper arts dedicated to all things boys, are two not to be missed!The audience is a combination of regular cabaret DÀFLRQDGRV�DQG�LQTXLVLWLYH�QRYLFHV��EXW�LI�\RX�DUH�curious and desire the more quirky side to life, whips, lace, glitter, red lips and suspenders are all on the bill.

Every year, between the 18th and the 25th of May, in Saint Maries de le Mer, in Camargue, people celebrate Saint Sarah, the protector of all gypsies and travellers in the world.Gypsies carry out the statue of Sarah out of the crypt to bring Saint Sarah down to the beach through the little street of Saint Marie de le Mer, where the statue is LPPHUVHG�WKUHH�WLPHV�LQWR�WKH�VHD�WR�EH�SXULÀHG�People says that after have been touched and retouched for an entire year, the statue of Saint Sarah is full of negative energy, from the people who come to Saint Sarah to solve problems and to atone for sins. The cathartic power of the water, should makes Saint Sarah clean and ready to welcome its faithful again.Here there is a gypsy boy during the procession, KDQJLQJ�D�FURVV�GHFRUDWHG�ZLWK�ÁRZHU���RXWVLGH�RI�6DLQW�Marie de le Mer Church.

90’s rave culture died down after the millennium, we lost the builder’s high visibility vests, the butler’s gloves and the vast array of pill-popping characters. The spotty teenage raver from 92’ has now become a thirty something year old accounts manager who longs to relive his partying days.

By Stefania Tasca

Old School

Ravers Reunite

By Luca Marino

The London

Burlesque Festival

By Claudia Langton

work in progresssummer 2013

“Viva Saint Maries de le

Mer, Viva Saint Sarah”A Gypsy Pilgrimage at Saint Maries the la Mer.

�$IWHU�UHVHDUFKLQJ�ZKHUH�,�FRXOG�ÀQG�WKHVH�¶ROG�VFKRRO·�ravers in their teenage stomping grounds I located a 90’s rave festival reunion in Leicestershire, where I camped out and documented the ecstasy-fuelled punters.

Sports photography is one of the most mentally and physically demanding tasks a photog-rapher can face. Just take a look at how Sports Illustrated magazine, home to many of the world’s best sports photographers, covers horse racing for example. When looking at the images they produce, it looks like they had several different photographers placed through-out the race course but all the pictures are credited to the same photographer. That one photographer spent days, if not weeks, planning where to place his army of over 20 remote-ly triggered cameras early in the morning. Sports photographers are extremely passionate about their work, which is why they deliberately put themselves through the headache of coordinating such an elaborate set-up, its part of their job after all.

Passion is one of the most important factors in becoming successful a successful sports photographer. There are so many obstacles that can, and will, get in the way and passion-ate and motivated photographers are the ones who can get past those obstacles. If you can’t ÀQG�\RXUVHOI�EHFRPLQJ�H[FLWHG�RYHU�WKH�VPDOOHVW�WKLQJV��\RX�PLJKW�QHHG�WR�UHFRQVLGHU�ZKDW�you want to do with your photography. This is an incredibly competitive profession and you must keep up or you will fall behind very quickly.

Action and feature photos are the bread and butter for a sports photographer but the true art happens when there is an element in the photograph that makes it different from the expected. As a student, acquiring the skills to make my own action and feature photos stand out from others is a long and tedious process, but it all comes down to experience. Practice won’t make you perfect, but it will make you better than you were the previous day.

The most fundamental skills a photographer has to have is timing, if you miss the decisive moment, your picture is almost worthless. Unfortunately, this is a skill that isn’t the easiest to learn, but it becomes natural eventually. But one thing that you can help yourself with is to study the sport and the players you will be photographing, to learn how the game is played and the tendencies of individual players. This is connected with the most important skill a photographer can have, which is to be able to anticipate or predict what will happen. Sometimes you will be able to anticipate something 5 minutes in advance or merely half a VHFRQG��HLWKHU�RQH�PDNHV�D�KXJH�GLIIHUHQFH��,I�\RX�GRQ·W�KDYH�WKH�UHÁH[HV�WR�NHHS�XS�ZLWK�the quick movement of play, your ability to predict the action is even more important.

This is an extremely brief overview of what it takes to be a successful sports photographer and if you take these thoughts to heart, you will have a leg up on the next guy and you’ll be having so much fun at the same time. Wouldn’t it be amazing to be closer to the action than people who may have paid thousands?

sports photographyBy Jon Durr

Beth White

Georgina McCaugherty

,W�LV�WKRXJKW�WKDW�DURXQG�����RI�FKLOGUHQ�ZLWK�OHDUQLQJ�GLVDELOLWLHV�GR�QRW�KDYH�D�GHÀ�QLWLYH�diagnosis to explain the cause of their condition. This lack of a diagnosis causes uncer-tainty and unpredictability and families affected often face a constant struggle to receive WKH�À�QDQFLDO��KHDOWK�DQG�HGXFDWLRQDO�VXSSRUW�WKDW�WKH\�QHHG��

Undiagnosed is an in depth documentation of one family’s day to day experience of living OLIH�ZLWK�DQ�XQGLDJQRVHG�JHQHWLF�FRQGLWLRQ��LW�IRFXVHV�ODUJHO\�RQ�WKH�FHOHEUDWRU\�DVSHFWV�RI�OLIH��KLJKOLJKWLQJ�WKH�URXWLQHV�DQG�IDPLOLDULW\�WKDW�PDNH�XS�WKH�GD\�WR�GD\��7KH�SURMHFW�aims to educate and inform by raising an awareness for what it means to have an undiag-nosed condition.

¶7KH�*UDQGH�+RWHO·�LV�D�XQLTXH�IHDWXUH�LQ�WKH�FLW\�RI�%HLUD��0R]DPELTXH��,W�ZDV�EXLOW�LQ������by the Portuguese government. In its early days it was known as one of the largest and most luxurious hotels in Southern Africa. It had a brief period of success but a number of factors OHG�WR�D�VHULRXV�GHFOLQH�LQ�LWV�IRUWXQHV��DQG�RYHU�D�SHULRG�RI����\HDUV�LW�ZHQW�IURP�PRGHUDWH�VXFFHVV�WR�FRPSOHWH�À�QDQFLDO�IDLOXUH��2QFH�WKH�3RUWXJXHVH�KDG�YDFDWHG�WKH�FRXQW\�SRVW�LQGH�pendence the role of the hotel changed dramatically. It went from housing soldiers during the FLYLO�ZDU�WR�DFFRPPRGDWLQJ�UHIXJHHV�ZKHQ�WKH�ZDU�ZDV�RYHU��7KH�KRWHO�ORVW�UXQQLQJ�ZDWHU��HOHFWULFLW\�DQG�RWKHU�EDVLF�DPHQLWLHV��$OO�WKH�À�WWLQJV�DQG�VHUYLFHV�ZHUH�UHPRYHG�DQG�VROG��7KH�EXLOGLQJ��ZKLFK�LV�QRZ�QR�PRUH�WKDQ�D�VKHOO�LV�KRPH�WR�D�XQLTXH�FRPPXQLW\�RI������LQKDE�itants consisting mainly of the dispossessed and former refugees from the civil war. January �����

Mozanbique

Disabled Children

Ba (Hons) Photojournalism Photography 2013 ShowPrivate view - Monday 3rd June - 6pm - 8.30pmExhibition open days - Tuesday 4th & Wednesday 5th June - 10am - 5pm

Connor Matheson

3HRSOH�IURP�6RXWK�<RUNVKLUH�KDYH�DOZD\V�KDG�D�VWURQJ�VHQVH�RI�UHJLRQDO�LGHQWLW\��ZKLFK�LV�shown through the unique culture and local traditions. This work explores every day lives RI�QRUPDO�SHRSOH�ZLWKLQ�6RXWK�<RUNVKLUH�LQ�WKH�SRVW�7KDWFKHU�HUD��ZLWK�SDUWLFXODU�IRFXV�RQ�WKHPHV�VXFK�DV�IDPLO\�UHODWLRQVKLSV��WKH�ORFDO�HFRQRP\�DQG�GULQNLQJ�FXOWXUH��7KLV�SURMHFW�LV�WR�EH�DQ�DFFXUDWH�UHSUHVHQWDWLRQ�RI�ZRUNLQJ�FODVV�FXOWXUH�LQ�WKH�1RUWK�RI�(QJODQG��GHSLFWLQJ�WKH�HYHU\GD\�OLYHV�RI�SHRSOH�ZKR�DUH�RIWHQ�YLOLÀ�HG�LQ�WKH�PDLQVWUHDP�SUHVV�DV�“scroungers” or “yobs”. The work aims to show the effects of government economic pol-icy yet also show the human element and humour to life in South Yorkshire and celebrate the diversity of people and character in the area.

Yorkshire

Christian Fisher

The story goes that 30 years ago a group of friends were out on their motorcycles enjoy-ing a Sunday ride. One of the riders collided with a vehicle and suffered serious injuries. He was losing blood rapidly. When they reached the hospital the doctors were running low on blood and needed some fast. The bikers’ friends volunteered to ride to the blood centre and collect the urgently needed blood. The rider survived and SERV (Service by Emergency Rider Volunteers) was born.SERV has since grown in members and area cover giving rise to numerous SERV groups. The SERV S&SL (Surrey and South London) group cover from Guildford to :DWHUORR�ÀYH�QLJKWV�D�ZHHN�DQG�IXOO�VHUYLFH�RQ�ZHHNHQGV�The Blood Runners provide free motorcycle transport service for the NHS carrying blood, baby milk, biological samples and vaccines on demand. The charity receives no funding from the government or expenses; in fact, the charity survives on volun-teer donations and the occasional fund raising event. Al riders pay for their own costs including fuel and vehicle maintenance. There are currently around 60 active riders with SERV S&SL. Most of the blood runs are done on the rider’s own motorcycles. Early in 2013 the SERV S&SL charity teamed up with the Surrey Air Ambulance (SAA). On top of SERV’s usual duties they now restock a small blood depot at the SAA helipad. When the SAA have to attend an emergency, SERV will ensure that blood is available. The SERV S&SL volunteers receive no funding, no praise and no rewards. They volun-teer in the hope that someone will be there for them when things go wrong.

Blood RunnersJoshua Hughes

Toni Stone

Throughout history, sex workers have overcome a number of obstacles such as prohib-itive legislation and social stigma to choose the work that suits them. For some, this might mean stripping a few nights a week whilst studying. For others, it could be a 20 \HDUV�FDUHHU�DV�DQ�HVFRUW��)RU�VRPH��VH[�ZRUN�LV�D�UHOLDEOH�PHDQV�RI�VXUYLYLQJ�ÀQDQFLDOO\�LQ�WRXJK�WLPHV��ZKLOVW�RWKHUV�FKRRVH�WKHLU�ZRUN�WR�UHÁHFW�D�SDVVLRQ�IRU�VH[XDOLW\�DQG�WKH�erotic industry, one of the very few industries where a woman will always earn more than a man.Regardless of their reasons for choosing it, many are united in their politics: as skilled labourers, they want rights, and to be treated as workers in a society which ignores or reviles them. In the UK, many types of sex workers’ working conditions are made less safe or fair under current legislation. For instance, women who sell sex must work totally alone to avoid violating brothel keeping laws, putting themselves at increased risk of rape DQG�UREEHU\��2IWHQ�WKH\�DUH�IHPLQLVWV��EXW�ÀQG�WKHPVHOYHV�H[FOXGHG�IURP�WKH�PDLQVWUHDP�movement by prohibitionists who would see sex work abolished and the purchase of sex criminalised, cutting off income to thousands of women in the UK alone. With this project I explore these lives, and portray nine women for whom Sex Work is indeed just that – work.

I Carbonai means The Charcoal Men in local Calabrian dialect. It is the name affection-ately given to the small number of men who continue to produce wood charcoal using centuries old methods in the mountains of Southern Italy. This project centres on a site just outside the remote town of Serra San Bruno. Made up of a number of charcoal families WKH�GLIÀFXOW�SURFHVV�LV�FORVHG�RII�WR�PDQ\��WKH�ZRRG�JHWV�GURSSHG�RII�DW�WKH�VLWH�ZKHUH�it is sorted based on size and then arranged into a conical shape with the larger wood in WKH�FHQWUH�DQG�VPDOOHU�SLHFHV�RQ�WKH�RXWVLGH��$�ÁXPH�LV�FUHDWHG�LQ�WKH�FHQWUH�WR�DOORZ�LQ�R[\JHQ�DQG�WKLV�LV�ZKHUH�WKH�&DUERQDL�ZLOO�EXLOG�D�VPDOO�ÀUH�WR�VWDUW�WKH�EXUQLQJ�SURFHVV��A layer of hay, mud and clay is then compressed around the wood to dry and protect it as LW�EXUQV��WKH�ÀQLVKHG�VWUXFWXUH�LV�FDOOHG�WKH�6FDUD]]X��2QFH�UHDG\�WKH�WRS�OD\HUV�DUH�JHQWO\�removed and the charcoal can be sorted and then sent off to Puglia and Sicily where it is sold as fuel for heating and cooking. This project focuses on three Carbonai brothers who come from a famous Italian charcoal families. The tools they use are primitive, the most advanced piece of technology being a chainsaw or perhaps a lighter. Walking onto the site is like stepping back in time with nothing appearing to have changed for a century.

Charcoal

Sex Workers

of photographer Wang Qingsong,

who photographically reproduces

a Chinese scroll painting – a great

match, two photographers from

different periods using still images

yet creating the illusion of moving

pictures. The low priority given

to the show is emphasized by the

fact that at the main information

desk the attendants have to look

up where it is and what it is about.

‘Making It Up’ could have been

a really great success at the

V&A but is spoilt by poor layout

arrangements and ugly lighting.

They should be located in such

a way that the viewer is able to

consume them with quiet contem-

plation. The enjoyment of such

creativity should not be ruined by

gossiping bystanders.

LQIR#¿[DWLRQXN�FRP� ZZZ�¿[DWLRQXN�FRP� �������������%\�%LNH����PLQXWHV�IURP�/&&�����PLQXWHV�IURP�&KHOVHD������PLQXWHV�IURP�&DPEHUZHOO%\�7UDLQ���8QGHUJURXQG�����PLQXWHV��IURP�&HQWUDO�6W�0DUWLQV��/&)�DQG�:LPEOHGRQ

5HSDLUVLondon’s only authorised service

centre for Canon and Nikon systems with a 10% discount on labour

charges for UAL Students

6DOHVWe are experts in Canon and Nikon systems. We also hold an extensive

UDQJH�RI�WULSRGV��EDJV��ÀDVK�accessories and more

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demanding shoots plus lighting kits from Profoto and Elinchrom

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ALN 2013.indd 1 23/05/2013 08:38Making it up: photographic fictionsThe title of this very small exhibi-

tion at the V&A speaks for itself:

truth has no importance here

only story-telling counts. In fact,

we are taken to the world of the

imaginary as we start looking at

the pictures.

The photographs were selected

from the V&A archives: as we

move from image to image we

are taken back to the 1850’s with

original prints sometimes paired

up with 21st century’s artistic

shots. A self-portrait of Cindy

Sherman, recreating actresses’

identities in the 50s and 60s,

opens the show. Soon enough

we realise that we are looking

at recreations of the past – what

was made as a form of public

entertainment in the 19th centu-

ry, William Henry Lake Price’s

mini prints (1855), is now a pure

photographic technique: Jan Wen-

zel (2000) pairs up a sequence

of small prints to create one big

photograph.

The concept of this exhibition is

valid and interesting, but then why

would the people entering room

38a where the exhibition is held

leave so soon.

By Clementina CalleriThe problem is we aren’t drawn

to the photographs. The lighting

doesn’t do what it should: the

photographs are badly illuminat-

ed and sometimes the framing

doesn’t allow the picture to come

through. There is not enough

space between the images paired

up, and the ones standing on their

own. No explanation is given at

WKH�HQWUDQFH��RXU�UHÁHFWLRQ�DQG�knowledge is left to understand

the whole show; that’s maybe the

reason why, ladies coming to the

V&A to spend a cultural morning

with friends, don’t take the time

to analyse the images, but talk

about their own problems, as if

they were sitting in a café. It is not

that they aren’t interested in the

subject it’s a question of design.

Gallery exhibitions are now so

well disposed and arranged that

audiences anticipate meticulously

presented work – this one simply

lacks care and attention.

It is unfortunate because the work

of visionary photographers such

as Duane Michals is shown here:

ÀJXUHV�PRYLQJ�LQ�DQG�RXW�RI�WKH�shot in a time sequence are paired

up with more recent Asian work Julia Margaret Cameron, The Return after 3 days 1865, at Isle of Wight, England.

Exhibition Runs3 May 2013 - 16 March 201410.00 to 17.45 daily10.00 to 22.00 Fridays