Archive for the ‘People we admire’ Category

Just when you Thought it was Safe to go Snapping…

Wednesday, May 12th, 2010

City of London Police Prove they Still haven’t got the Memo

Yesterday, I read a piece by Jane Fae Ozimek, which I have summed up here. Jane wrote that on Monday, a professional photographer was looking for a location on London Wall appropriate to a portrait of one of the architects responsible for the City’s changing skyline.

He went to One Aldermanbury Square, where the security guard asserted that the photographer could not take photos of the building. The photographer pointed out that the security guard was wrong. The police were called.

Apparently, four officers arrived, followed by a police van with flashing lights. He was detained, he claims, under Section 44(2) of the Terrorism Act 2000.

This controversial law permits police to stop any individual for the purpose of preventing terrorism. While police officers acting under this section do not require reasonable grounds for a search, they may do so where there are grounds for suspecting the photography is linked to terrorist activity. That said, the Association of Chief Police Officers (ACPO) has in recent months made it clear that photographers are not fair game for random stop and search.

In a strongly worded statement, Chief Constable Andy Trotter, chairman of ACPO’s media advisory group stated:

“Everyone … has a right to take photographs and film in public places. Taking photographs … is not normally cause for suspicion and there are no powers prohibiting the taking of photographs, film or digital images in a public place.”

This message appears not to have been passed on to City of London Police. Despite the photographer explaining that he was taking photos as part of his job, the police were not satisfied. Allegedly, he was then restrained forcibly by another officer, while the first officer went through his pockets, removing his camera and mobile phone. The photographer described how the officers were cheered by his discomfiture, both mental and physical.

He claims: “the police officer went through my pannier, flipping through personal notebooks, gingerly peeking in a plastic bag that contained a towel and swimmers, still wet from my earlier swim. He located my wallet, and pulled out my drivers licence with obvious glee.”

At the end of the search, the police departed, having failed to return his mobile phone to him. The Terrorism Act does entitle a PC to seize any item which “he reasonably suspects is intended to be used in connection with terrorism”. If the PC genuinely believed the photographer to be carrying the tools of terror on him, it was clearly perverse to leave him free to carry out the rest of his mission, photographing buildings around the City of London.

The writer of this piece, Jane Fae Ozimek, asked the City of London Police to comment on this incident – specifically asking them for their views on the removal of the phone. An official spokeswoman told us:

“A man was spoken to by officers yesterday after police were called by security personnel. He was later searched under terrorism powers.”

What about the phone? No comment.

What about suggestions that the City of London continues to abuse powers long after other forces have stopped? She added:

“We continue to work to make sure the city remains a safe place to work and visit.”

Unless, added Jane, your work includes taking photographs, in which case the safety of neither yourself nor your property can be guaranteed.

You can read the original piece here: http://www.theregister.co.uk/2010/05/11/police_photographers_terrorism_act/

Sebastião Salgado

Thursday, September 25th, 2008

Interview with Carole Naggar, New York, March 29, 2000.

Why did you start the Migrations project?

The Migrations project is the continuation of my previous project Workers. It is the second chapter of the same story. While I was shooting Workers over six or seven years, I saw that we were inside a total transformation of the ways of production. With the end of the first industrial revolution and the arrival of the new technology–intelligent machines–on the line of production, with the new organization of factors of production, I saw that human beings and their traditional, sedentary way of life were also beginning to transform.

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Don McCullin

Saturday, September 20th, 2008

Today, Photojournalist Don McCullin’s work still secures the response that it so greatly received back in the 1960’s and 70’s. McCullin worked for The Observer, The Sunday Times and other commissioning magazines, who sent him on assignments, photographically reporting the stories that led from the ensuing wars around the world. McCullin used his camera as a witness to its surroundings: a tool that hoped could influence action. McCullin said “I knew things were wrong. That’s why I photographed them… I wanted to take pictures for the immediate consumption, to correct whatever wrongs they’re depicting.”

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Andreas Gursky

Tuesday, September 9th, 2008

Andreas Gursky makes large-scale, colour photographs distinctive for their incisive and critical look at the effect of capitalism and globalisation on contemporary life.

Gursky studied under Bernd and Hilla Becher at the Düsseldorf Kunstakademie in the early 1980s and first adopted a style and method closely following Becher’s systematic approach to photography, creating small, black-and-white prints. In the early 1980s, however, he broke from this tradition, using colour film and spontaneous observation to make a series of images of people at leisure, such as hikers, swimmers and skiers, depicted as tiny protagonists in a vast landscape.

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