Australian photographer Chloe Bartram wrote in a couple weeks ago about her projects Sparkle, baby I and Sparkle, baby II, which look at children’s beauty pageants. I’ve seen projects on this subject before, but what really strikes me about Bartram’s work is the still-lifes of all of the equipment, for lack of a better term, that goes into turning a young girl into a beauty pageant contestant. I suppose I sub-consciously realized that all of these accouterments must exist, but I’ve never seen them outside of the context of a pageant. Seeing the fake eyelashes and tanning solution and wigs presented in such an isolated way in Sparkle, baby II reinforces the surrealism of these contests of traditional notions of beauty and femininity. The girls are being constructed into an ideal as the sum of these constituent parts. Bartram also documents the pageants themselves, in Sparkle, Baby I, focusing on vulnerable moments behind the scenes and during the competition. You can see images from both parts of the project above and more on Bartram’s website. This work is also a finalist in the Sony World Photography Awards Professional Arts and Culture category.
“The hanging wig without a head is out of place and unnatural. It is also away to explore the amount of detail that is placed upon such a small human being.” -Chloe Bartram
I asked Chloe to talk a little about what drew her to this subject and why she approached it in these two separate ways. Here’s what she had to say:
“One day I was searching YouTube for no real reason and somehow I landed on a story on child beauty pageants in America. I knew about the culture in the United States but it sparked my curiosity to know whether or not the events existed in Australia and if so to what extent. I tend to look at issues that involve self or ones where I can compare my own personal experiences and thoughts. For me, this makes the project more personal and relatable. Growing up I wasn’t a beauty queen and had quite low self esteem so I wanted to discover what it was like for a girl growing up now and in a privileged society. I wanted to know if those that competed in the pageants were disadvantaged when it came to conforming to the idealised view of girlhood or do the girls see it as a celebration of self. Did it increase the pressures they face or did it actually help them with self esteem and confidence?
“Beauty pageants for the young are a controversial issue and it is because of this that I went into the project unbiased and completely open to the situation. I wanted to allow the girls a chance to tell their own story. This project became a collaboration and I was able to photograph a more intimate documentary series. Regardless of political standpoint it was important for me to remember people matter much more than images. I was able to get to know the girls and the families outside of the pageants and photographed them within the home environment. These images did not make into the final edit but the process was essential to my research and establishing relationships and the story.
“I chose to take the pageant paraphernalia into the studio to separate the girls from the objects and to show the full extent of what goes into competing in such an event. Pageants are very busy; there is an overwhelming amount of colour, glitter and hairspray. By taking the objects away from the situation they become plastic and static. The hanging wig without a head is out of place and unnatural. It is also away to explore the amount of detail that is placed upon such a small human being.”
By the way, Bartram just launched a kickstarter campaign this week to, in part, continue her work on sexuality.
With only a few days left of the Sochi Olympics, I can’t say that I’ve been impressed by American television coverage of the games. The sports coverage has been on par with NBC’s usual broadcasting. But I knew the other coverage (looking at Russia’s culture, politics, economy, etc.) would be bad when an NBC commentator didn’t explain symbolism during the opening ceremonies and instead told viewers to “google it.” I loved the opening ceremonies (having been a student of Russian history and culture), but there were serious omissions.
One of the most comprehensive resources I’ve found on everything surrounding the games, from what Sochi was to what it has become to what’s going on in nearby regions, is The Sochi Project‘s An Atlas of War and Tourism in Caucasus by Rob Hornstra and Arnold van Bruggen, published by Aperture. They’ve just posted on Facebook that the first edition is 85% sold out. That’s no small feat for a huge art book with 4500 copies. The book is available (alongside other publications by the pair) in The Sochi Project’s online store or through the Aperture website. The cheapest price to be had is through Amazon ($57 as of this writing), where only a handful of copies remain in stock, though more are on the way.
Don’t let the book cover fool you (my girlfriend hates it!). This is a serious document, the end product of 7 years documenting the region. There are great bite-sized briefs on many of the surrounding regions and histories interspersed among excellent and incisive photography and writing of Hornstra and van Bruggen. For a centuries-old conflict (and the current rat’s nest of corruption and crime), the book is an astonishing accomplishment. At over 400 pages, it isn’t easy to digest. I’ve taken to working through short sections day by day in addition to just leafing through it. Don’t take my word for it, though. Joerg Colberg called it “Highly recommended” in his review, or see what the New York Review of Books had to say, or Slate, or Fast Company, or Mother Jones, or the Guardian, among others.
Make sure to also spend time with the entire Sochi Project website. I find the book to be a more accessible way of viewing this project, but the website has a lot that isn’t included in An Atlas of War and Tourism in Caucasus. By the way, both Hornstra and van Bruggen have been banned from Russia, which we wrote about previously.
You might also be interested in previous posts about Hornstra and the Sochi Project on dvafoto, going back to 2008:
- Rob Hornstra denied Russian visa; Moscow exhibition of The Sochi Project cancelled
- Rob Hornstra talks about his process and books
- Worth a Listen: Rob Hornstra on funding projects
- Worth a look: Rob Hornstra
And on the subject of Sochi, my favorite reporting on the games has been by The New Republic’s Julia Ioffe (link to author; link to TNR’s Sochi reporting, which includes other authors). Check out: Evgeni Plushenko Pulls Out of the Olympics, Proving That Corruption Is Bad or The Only People Harassing the Gays of Sochi are the Foreign Journalists or Russians Think We’re Engaging in Olympic Schadenfreude. They’re Right. or Why Did Someone Put a Giant Wooden Cock on a Kremlin Critic’s Car? And be sure to check out the New York Times’ An Olympics in the Shadow of a War Zone and Sochi or Bust: Have Niva, Need Hammer. I’ve also enjoyed the Guardian’s coverage of the sports themselves, including Sochi 2014: 10 high contrast shots at the Winter Olympics – in pictures.
By the way, if you click through our links to buy anything here, we get a small cut of the sale. It’s a way for us to keep the lights on here at dvafoto. Thanks to those of you who have clicked through us in the past! Consider bookmarking this link to Amazon. It doesn’t change prices for you and gives a small portion of the sale to dvafoto.
The video above is hilarious. Of course, Sports Illustrated’s annual Swimsuit Issue has a lot of…issues. This year Barbie was in the mix. Last year, the magazine featured “exotic” locals alongside swimsuit models. But forget the controversies for a minute, and instead marvel at the photo crew (photographers, grips, makeup artists, warddrobe assistants, etc.) trying to produce a photo shoot without the benefit of gravity.
This year, model Kate Upton was photographed in zero gravity, on one of the so-called “Vomit Comets.” Photographer James Macari and his crew do an admirable job floating through space and trying to control hair, water droplets, and themselves, in zero gravity. Upton also has an impressive amount of control of her expressions and body while being photographed in zero g. You can see the resulting photos here, but really the video above is all you need. You can see this video and another at Sports Grid.
It wouldn’t be February without debate and controversy surround the annual World Press Photo awards. In past years, the chattering classes (that includes us at dvafoto) have gone back and forth on the images or techniques given awards, this year questions have been raised about the voting process itself.
Looking through the year’s winners, I thought there wouldn’t be any debate; the categories this year were filled with strong work from many of the year’s major (and soon-to-be-major) news events. John Stanmeyer‘s winning image, one of my favorite pictures of the year, seemed like a subtle choice for the top award. It’s an image that regards marginalized people with a sense of humanity and dignity, rather than using people from the developing world as puppets for pity or handwringing. The subjects, with cell phones aloft, are people with families and histories and futures, trying to communicate in a situation beyond their control. The photo rises above the usual sex, drugs, and war tropes that dominate the major photojournalism contests.
The selection of this image has not escaped controversy. As duckrabbit first pointed out, John Stanmeyer (the winning photographer) and Gary Knight (World Press Photo jury chair) are business partners (full disclosure: I interned at VII in 2005-6). The photojournalism industry is a small one–though that can also be debated, especially if we look outside of the US and western Europe–and it’s inevitable that the judges of these major contests will know or have worked with the photographers whose work wins awards, since both tend to come from the upper echelons of the photojournalism industry. In this case, Knight and Stanmeyer’s ties are very close. In a World Press Photo video discussing the winning image (above), Knight says that he voted the story out of the competition, but the jury kept the image in the running for a single award. Speaking with the New York Times’ Lens Blog, Knight said that he tried to recuse himself from the jury when the image was considered, but that contest regulations did not allow that. Because of this, we must rely on trust that the award was reached in a fair manner. Even the appearance of unfairness in the judging process, however, undermines the award. If nothing else, there is now a strong reason for World Press Photo to amend their the contest rules and create a procedure for dealing with apparent conflicts of interest in the judging. Ironically, it was in a press release announcing Knight as jury chair that World Press Photo said they would alter the rules to increase transparency for examining digital files for ethical violations after the controversy over Paul Hansen’s winning image last year.
I’m not sure that Stanmeyer’s and Knights close ties are the largest issue here. Knight has said that looking at the images entered in the contest, the industry lacks resources to cover the year’s important issues, though he says that is not the case with the winning images. Furthermore, 8% of images chosen for the final round of judging had to be thrown out due to ethics violations. And only 14% of entrants to the contest were women (that number is under “Data on Entries” in David Campbell’s post as secretary of the jury). We’ve written before about sexism and gender bias in the photography industry, but this is a stark statistic.
By the way, here is a video of Gary Knight talking about some of the other winning entries:
There have been a number of responses to the awards and analyses posted online. Here are a few that I found most interesting (some linked above):
- World Press Jury secretary David Campbell’s World Press Photo 2014 contest: Reflections from the Secretary’s seat
- BagNewsNotes’ Thoughts on John Stanmeyer’s 2014 World Press Winning Photo
- Conscientious Redux’s 57th World Press Photo of the Year – A Few Thoughts
- Alessia Glaviano’s reflections as a member of the World Press Photo People category jury.
- Gary Knight’s conversation with the British Journal of Photography, in which he laments that the awards are dominated by a few large photo institutions.
- Susie Linfield’s thoughts that the awards this year reflect dignity and hope
- duckrabbit’s World Press Photo: great pics and the usual incest
- Paul Melcher’s Photojournalism is not a Competition
- Lens’ The World’s Best (Unaltered) Photos
- World Press Photo win is ‘bittersweet’, says John Tlumacki of his Boston Marathon bombing image
- Martijn Kleppe’s collection of discussion relating to World Press Photo 2013, for these links and more
First-world problems or real problems? Western journalists are whining about Sochi Olympics hotels (updated)Feb 7, 2014 by M. Scott Brauer 5 Comments »
— Stacy St. Clair (@StacyStClair) February 4, 2014
I’ve spent about 10 months in Russia over the past eight or nine years, in Moscow and Saint Petersburg, but also in more remote cities such as Vorkuta, Ufa, Petrozavodsk, and Voronezh. Even in Moscow, where the hotel stood next to the Russian Foreign Ministry and the rooms was listed at about $175/night, there were substantial issues with water and heat.
Travel in Russia is not easy, and that’s why some of the viral complaints by journalists at the Sochi Olympics seem naive and privileged. Much of the world can’t flush toilet paper down the toilet. Much of the world can’t depend on clean water. Much of the world doesn’t have American breakfast food in the morning.
But there are valid issues coming through in the reports from the media village in Sochi. There are security issues. Some of the water is unfit even for bathing (West Virginia knows about that all too well). Much of the infrastructure is unfinished. There are stray dogs in hotels. By connecting to wifi in the Olympic village, you can be assured that
your computer will be hacked and your data will be stolen. (See Update II below)
The Washington Post has the largest collection of journalists’ complaints about their hotels, calling the experiences “hilarious and gross.” Deadspin got in on the act, saying “Staying in Sochi is a Hilarious Adventure.” The Wire has a wonderful analysis of some of these complaints, classifying them either as “real problem” or “first-world problem.” Can’t flush the toilet paper? First-world problem. Water unfit for bathing? Real problem. Margaret Coker, blogging for the Wall Street Journal, tells journalists to stop complaining, offering a good read on the scope of these complaints.
In fact, many of the images purported to be from the Sochi Olympics site are not from Sochi or Russia at all. The Telegraph leads their story about these complaints with a picture of three office chairs facing a toilet. Gizmodo busts some of these photos, finding that many of them have been passed around online for a year or more. The Wire has a similar analysis.
As usual, BagNews has a deeper read on what these reports mean, warning that by saturating news sites with “hilarious” (and sometimes fake) complaints about hotel conditions, readers and viewers lose sight of the real issues surrounding these Olympic Games. Real infrastructure problems need to be reported, but so does the conflict in areas close to the Olympics, Russia’s abuse of human rights, corruption in the construction and production of the Sochi Olympics, and anti-gay legislation and sentiment in the country. These issues deserve the media attention now being diverted to pictures of toilets.
UPDATE: Dmitry Kozak, the deputy prime minister responsible for the Olympic preparations, told the Wall Street Journal that they have surveillance footage of shower usage in journalists’ hotel rooms. A spokesman for Kozak quickly said they don’t have footage of anyone in showers or hotel rooms.
UPDATE II: The reports about Sochi wifi hacking seem to be exaggerated. Vice’s Motherboard site has a deeper look at NBC’s report, which served as the basis for the Yahoo piece linked above. The device infection demonstrations were done in Moscow and required the user to click on malware on a website, just as would happen anywhere in the world. The Trend Micro security expert in the NBC piece has a blog post and white paper detailing the method of infection used in his demonstrations.
“This is it. This is your country. This is what I saw.” – David Guttenfelder
David Guttenfelder, Associated Press Chief Photographer in Asia, has made 30 trips and stayed 100 days in North Korea, one of few Western photographers with regular access to the isolated country. The AP was the first news organization to open a bureau in Pyongyang, in January 2012. Guttenfelder, an American photographer who has been a finalist for the Pulitzer Prize seven times and has won seven World Press Photo awards, oversees the bureau’s photography and staff.
He posts regularly on his instagram account (@dguttenfelder), including images transmitted directly from the streets of Pyongyang since he was first allowed to bring a cell phone in to the country in February 2013. Just Something magazine published a blog with 41 of his instagram images that are well worth checking out; the feeling we get with instagram and mobile photography – casual, personal, instant – is very interestingly applied in the context of the “hermit kingdom”. These are not images we’ve seen before.
Guttenfelder is in a unique position to document a country that had almost no independent photographic record for 60 years, and luckily for all of us he is doing a wonderful job and is very eloquent about what he is trying to accomplish. National Geographic, who recently sent him on assignment in North Korea, invited him to speak at a recent National Geographic Live! event, and they’ve published a video of his talk.
After earlier comparing his vision of North Korea on his first trips to the country to the movie The Truman Show he talks about his mission as “trying to interpret reality, trying to reveal what is real inside the country.”
This is one of the more inspiring videos about photography and how it can be used that I’ve seen in recent memory.