Emotion carries the day at the 61st World Press Photo Awards.

April 18, 2018

Hardly anyone seeing the awarded images in this past weekend’s World Press Photo 2018 Awards could walk away without feeling shaken and, deep down, at least a little stirred.

No written summation of the winning images would be complete without the images themselves. That’s the whole point of photojournalism, in which the image truly is worth a thousand words. Good photography transcends different languages and cultures, which is why Mexico City-based photographer Ronaldo Schemidt’s image of a protestor set ablaze during street demonstrations last May in Caracas, Venezuela is so wrenching. It’s the kind of image no one wants to see, and yet it’s an image that’s impossible to tear one’s eyes away. The World Press Photo association awarded Schemidt the group’s Photo of the Year award for 2018, as well as 1st prize for spot news.

Schemidt’s image, taken for Agence France-Presse (AFP), is undeniably powerful, but it was just one among many.

©Ronaldo Schemidt/Agence France-Presse (AFP)

Charlottesville, Va. local-news photographer Ryan M. Kelly, a staff photographer for The Daily Progress local newspaper — the only daily newspaper in Charlottesville — won 2nd prize for spot news for his harrowing image of a 20-year-oldwhite supremacist and neo-Nazi, now charged with first-degree murder, ramming his car through a crowd of demonstrators at the ‘Unite the Right’ rally in the Virginia city last August.

@Ryan Kelly/The Daily Progress (Charlottesville, Va.)

It’s a sign of these troubled times for the planet, though, that the organizers of the 61st World Press Photo Awards saw fit to make room for separate environment and nature categories, where they joined such traditional news categories as contemporary issues, general news, long-term projects, people, sports and spot news.

North Carolina-born, Montana-based Ami Vitale, profiled in this space just a few weeks ago, won 1st prize in the nature/stories category for her photo essay “Warriors Who Once Feared Elephants Now Protect Them,” about the Reteti Elephant Sanctuary in Samburu, northern Kenya, for National Geographic.

http://www.amivitale.com/2017/07/warriors-who-once-feared-elephants-now-protect-them/

It was a good week — a good year, in fact — for South African-based image-makers.

German-born Thomas P. Peschak, a trained marine biologist who moved to South Africa and switched careers to “document the beauty and fragility of our oceans,” won no fewer than four World Press Photo awards, all of them for National Geographic.

Peschak won both 2nd and 3rd prize in the nature/singles category, for his image of rockhopper penguins doing just that (2nd place), and an image juxtaposing a historic photo of an African penguin colony, taken in the late 1890s, against an image taken in 2017, showing the stark contrast in declining numbers between the two. (“Singles” are standalone images; “stories” are photo essays, in which a series of images tells a single story.)

Peschak won 2nd prize in the environment/singles category for his sobering image of a South African Antarctic Territory juvenile grey-headed albatross recovering from an attack by an invasive mouse species. He won 3rd prize in the nature/stories category — the same category in which his fellow National Geographic photographer Vitale won — for his haunting photo essay of the Galapagos archipelago.

Peschak switched to photojournalism, he says now, when he realized his images could do more for conservation than simply curating scientific statistics for academics (https://www.thomaspeschak.com).

Alaska commercial fisherman and occasional photographer Corey Arnold won 1st prize in the nature/singles category, for his equally sad image of a bald eagle picking over meat scraps in a garbage dumpster in Dutch Harbour, Alaska.

Top prize in the environment/singles category was awarded to South African conservation photographer Neil Aldridge for his unspeakably sad image of a southern white rhino, drugged and blindfolded during relocation to the Okavango Delta, Botswana from its home in South Africa, to protect it from poachers.

Photography is both a calling and a profession for Aldridge; he’s a lecturer in marine and natural history photography at Falmouth University, in Cornwall, in the UK, and runs workshops, expeditions and seminars, and in 2016 established the self-explanatory NGO Rhino Conservation Botswana.

“Photography is more than just a beautiful picture, a moment frozen in time; it has the power to transform our relationship with the world around us for the better,” Aldridge explains on his website at,

www.conservationphotojournalism.com.

A compelling image is about forging an emotional connection with the viewer, he says; the aim is to create stories that inspire positive change through the conservation of nature and the environment.

“I think photojournalism is documentary photography with a purpose,” W. Eugene Smith famously said.

“The ability to keep things in perspective is very important for a journalist. In a tense situation you need the ability to be there, yet somehow step aside; to keep a cool head and keep working without getting frustrated.” — Philip Jones Griffiths.

“It’s a lot more than clicking the shutter. It’s the ideas, it’s the visual voice, it’s the telling the story, it’s kind of going beyond that initial things that just means you happened to be there at the right time.” — Ron Haviv.

“I think of myself as a journalist who chooses the art of photography to bring awareness to the world. Art is a powerful means of expression, but combined with journalism it has the ability to bring awareness to issues that can elevate understanding and compassion. It’s the basic reality of why I do what I do.” — Renée C. Byer.

“As photojournalists, we supply information to a world that is overwhelmed with preoccupations and full of people who need the company of images. We pass judgment on what we see, and this involves an enormous responsibility.” — Henri Cartier-Bresson.

Here, then, without further ado, are the winners I’ve mentioned, with the primary emphasis — given the tone of this site — on matters involving nature and the environment.

https://www.worldpressphoto.org/collection/photo/2018

NEIL ALDRIDGE

THOMAS P. PESCHAK

AMI VITALE

The “Moth Man” prophecies: Why wild population declines matter more than mass extinctions.

April 09, 2018

Extinctions are not good for the planet, I think we can all agree, but there’s a growing belief that wildlife population declines — the slow but steady degradation of the environment, the deterioration and erosion of ecosystems, coupled with habitat loss — are the more pressing concern.

A recent thoughtful, reasoned, finely researched article by Slate staff writer Henry Grabar noted that, between the loss in 1914 of Martha, the last passenger pigeon known to science, who died at the Cincinnati Zoo, and the death last month of Sudan, the last known surviving male northern white rhino, at Kenya’s Ol Pejeta Conservancy, extinction crises have always been quick to grab the headlines.

The steady but inexorable decline of environmental ecosystems is a harder sell with the news media, however, where the news is always defined by what is happening right now — there are no male northern white rhinos left, anywhere — and not what might happen months, years and generations down the road: i.e. if grasslands vanish across East Africa, there will not be much of anything left, let alone northern white rhinos.

Wildlife populations are crashing, Grabar noted, and we barely notice.

https://slate.com/technology/2018/03/rhinos-are-charismatic-but-fish-bugs-and-birds-are-dying-too.html

This may be as good a time as any, then, to revisit Michael McCarthy’s 2015 book The Moth Snowstorm: Nature and Joy, “an urgent, rhapsodic book full of joy, grief and rage,” according to Cambridge University naturalist and research scholar Helen Macdonald. McCarthy, veteran nature writer and environmental columnist for some 20 years for The Independent newspaper in the UK, focused on the joy that nature gives us in our everyday lives, and how the “Great Thinning” is cheating future generations — and the planet — of a hopeful future.

“One problem we have with abundance,” Grabar writes — whether it’s so many passenger pigeons that it’s inconceivable that they might one day all disappear or a wide, open landscape of untrammelled wilderness that’s impossible to comprehend in a single glance — “is that we’re not very good with numbers. And the larger the numbers get, the more trouble we have telling the difference between them.”

That may explain at least in part why the Great Thinning is going largely unnoticed.

The World Wide Fund for Nature (WWF) and Zoological Society of London’s (ZSL) Living Planet Index, which monitors some 14,000 populations of roughly 3,500 species of vertebrates worldwide, recorded average population declines of 60 percent, species by species, over a 40-year period between 1970 and 2010, the last year for which official numbers were measured, tabulated and published.

It seems obvious, but some things bear repeating. Nature, McCarthy writes in The Moth Snowstorm, has many gifts for us, but perhaps the greatest of these is joy; the delight we take in the natural world, in the wonder it can offer us, the peace it can provide.

The natural world is ever more threatened, and it’s happening right now, on our watch.

The Moth Snowstorm was published three years ago, but it has never seemed more timely than it is right now.

“Hyperbole?” McCarthy wrote then. “You could say so, I suppose. But what can I do, other than speak of my experience? Once, on a May morning a few years ago, I cam out on to the banks of the Upper Itchen, at Ovington in Hampshire, and the river with its flowers and willows and the serenity of its flow and its dimpling tout in its matchless, limpid water, all gilded by the sunshine, seemed to possess a loveliness which was not part of this world at all.,

“Yet it was part of it; and there, once again, was the joy.”

‘But we should not give up:’ elegy for a white rhino named Sudan.

March 22, 2018

Much of the world may not care, but make no mistake: The planet shed a tear when the last known male northern white rhino died this week.

“The world’s last surviving northern white rhino has died after months of poor health, his carers say,” BBC News reported under the heading Northern white rhino: Last male Sudan dies in Kenya.

Sudan, who was 45, lived at the Ol Pejeta Conservancy in Kenya. He was put down Monday after age-related complications worsened to the point where his carers decided he was in significant pain and unlikely to recover.

Sudan had lived at Safari Park Dvür Králové in the Czech Republic until 2009, when he was repatriated to his ancestral home in the arid thorn-bush scrublands of northern Kenya.

Dvür Králové is the only zoo in the world where northern white rhinos have successfully given birth, but here’s the catch: The last calf was born in 2000.

©Ami Vitale/National Geographic Creative

Sudan’s death leaves just two females, his daughter and granddaughter, of the subspecies.

There are five species of rhinos, of which the white rhino is the largest. There are two subspecies: The southern white rhino, which is native to South Africa and neighbouring countries, is at risk but not yet critically endangered. (Wild populations outside South Africa are hard to ascertain, but it’s believed southern white rhinos may already have vanished from several southern African countries, owing to a recent spike in poaching driven by the insatiable demand for rhino horn in Asian countries.)

“His death is a cruel symbol of human disregard for nature and it saddened everyone who knew him,” Jan Stejskal, an official with Dvür Králové Zoo in the Czech Republic’s Labe (Elbe) river valley region of Bohemia, told the AFP news agency, as reported on BBC News’ main website Tuesday.

“But we should not give up.”

An elegy — a poem of serious reflection, typically a lament for the dead — might not seem appropriate for an animal, but as anyone who has spent time around animals knows, they’re sentient beings, capable of emotion and, in many cases, the ability to feel pain and know sadness.

What’s telling about the outpouring of sentiment on social media, from those who saw him on a day-to-day basis at Ol Pejeta and by those who barely knew him, except from wildlife films and photo essays in nature periodicals, is how raw and open the emotional wounds are — at least, among those care about about species extinction and somehow finding the right balance between Nature and a fast-growing human population.

It may not be easy to remember now, but northern white rhinos were actually quite widespread, as recently as the 1970s and ‘80s. They ranged from Uganda and Kenya in East Africa to the Democratic Republic of Congo (DRC) and Central African Republic (CAR) in central Africa, to Chad in northern Africa, and to Sudan itself, after which Sudan was named (obviously). A poaching epidemic in the mid- to late 1980s for both rhino horn and elephant tusks proved catastrophic for one species and near-catastrophic for the other, all to service the demand for use in traditional Chinese medicines and the quaint notion that ground rhino horn is both an aphrodisiac and a cure for cancer. (Spoiler alert: It’s neither.)

Rhino horn was also used for dagger handles in Yemen; it’s hard to assess, given the present turmoil in Yemen, exactly how much demand remains for dagger handles.

The World Wildlife Fund declared the northern white rhino extinct in the wild in 2008.

Even the mere idea that an iconic species like a rhino that could still be found in the Congo as recently as the early 2000s should be virtually extinct by 2018 should be cause for alarm, but it clearly isn’t — not when a recently U.S. administration can look at a melting polar ice cap and put it down to a Chinese hoax. The only Chinese hoax is the insistence that rhino horn is a cure for cancer.

(To be fair, China has become politically active in the past year on the issue of climate change and in species extinction, in no small part because many Chinese cities are on the verge of being unliveable, due to air pollution and wild swings in the weather. The current U.S. administration, on the other hand, remains bereft of ideas and unwilling to accept that there’s even a problem.)

Sudan was 45 — or 90 in human terms — when he was put down by veterinarians. He was being treated for degenerative deterioration to his muscles and bones, and was unable to stand. He also suffered from extended bruising and skin wounds. Putting him down was the humane thing to do.

Sudan’s genetic material has been collected and stored, in the hope that science might one day find a way to clone extinct animals from DNA. Rhino IVF (in vitro fertilization) is relatively untested and is considered both an invasive and radical procedure. And expensive. Geneticists, conservationists, veterinarians and wildlife biologists put the price as high as USD $10 million.

Then again, some might argue — and they have a case — that no price is too high where species extinction is concerned, especially a species as familiar and symbolic as a rhino.

https://www.nation.co.ke/news/Sudan-northern-white-rhino-death-Ol-Pejeta-Laikipia-lessons/1056-4350838-4mq77dz/index.html

Watching the world change: The images that shaped and reflected our world in 2017.

February 20, 2018

Each year, the World Press Photo Awards present a unique and unsettling account of the previous year in human history.

There are so many annual photography competitions these days it’s a wonder that anyone with a camera hasn’t won something, somewhere.

There’s something particularly affecting and powerful about photojournalists recognizing their own, however. These are often images from the frontlines of war and human conflict, but there are always one or two that reflect humanity at its most aspirational and forgiving.

The nominated photographers here — I’ve selected 20 choices from the dozens of images that made the shortlist — share one thing in common, apart from a keen eye and an ability to keep their camera in focus under often trying circumstance. They are men and women who, in facing a crisis, captured a photographic record of that crisis. In so doing, they laid bare the emotion of that moment for the world’s eyes.

Many of these images are hard to take in. Some are controversial. Many are profound. They all have something to say. None of them are boring. Advances in digital photography and the Internet ensure they will never be forgotten. We live in a visual age, where exploitation and redemption are often intertwined.

These images show how photography, in the words of former Life magazine creative director and Vanity Fair editor-of-creative-development David Friend, help us to witness, to grieve, and finally to understand the unimaginable.

The World Press Photo’s prestigious “Photo of the Year” award has been whittled down to six finalists.

I’ve placed those six finalists at the top of the 20 I’ve included below, if only to show that they all share compelling qualities. The top prize traditionally awarded to the photographer whose creative expression captured an issue of journalistic importance in a way that made us think.

As Lars Boering, managing director of the World Press Photo Foundation, said in announcing the six finalists:

“The best visual journalism is not of something; it is about something. It should matter to the people to whom it speaks.”

This year’s jury was chaired by Magdalena Herrera, director-of-photography for Geo magazine.

“We were looking for challenging approaches,” Herrera told the New York Times. “But the respect of the subjects as human beings and how suffering was portrayed was most important.”

Three of the six shortlisted images were taken by freelance photographers on assignment for the Times. The remaining images were taken by photographers working for UNICEF, Reuters and Agence France-Presse.

Finalists in all categories were chosen from photographers representing 125 countries. Herrera and her fellow jurors whittled the field down to 42 nominees in eight categories, including Photo of the Year.

There has been controversy in the past over photo manipulation, with some entries being disqualified after the fact.

The World Press Photo Foundation now examines the RAW picture files of all images that make it to the final rounds of judging. As many as 20 percent of images reaching the final rounds have been disqualified over the last three years, most often for “excessive post processing” — a polite way of saying too much digital manipulation in Lightroom and Photoshop.

Boering told the New York Times that there were fewer disqualifications this year, but “fewer” was “still too many.”

“Why manipulate?” Herrera added. “If you’re an illustrator, you’re not a photographer. We’re talking about people taking out and moving things, not toning. We are (living) more than ever in a period of fake news, (so) it’s good that World Press applies these rules.”

The winners will be announced on April 12th at the 2018 World Press Photo Awards Show in Amsterdam.

The winning pictures are traditionally assembled into an exhibition that travels to 45 countries and is seen by an estimated 4 million people each year.

Here, then, are 20 selections from this year’s 40-plus nominees. Captions were collated by The Atlantic from material provided by the World Press Photo Foundation.

The first six have been shortlisted for World Press Photo of the Year. The remaining 14 are my own choices — I curated them, if you will, from the remaining 3—plus finalists, and reflect my own tastes and biases — the environment, species survival, African wildlife, spot news and international reportage. I've saved, well, not the best exactly for last, but I have saved a kick for the end.

As always, the photographer’s name and copyright information is embedded in the photo itself, using Squarespace’s “caption overlay on hover” function.

Please be warned. Many of these images are graphic, and some are disturbing. As they’re meant to be. Others — the elephant, for example — are quite beautiful.

Disturbing and beautiful. Such is the world.