Pig House Pictures: Edition I

edition

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PIG HOUSE

PICTURES

PIG HOUSE

PICTURES PHOTOGRAPHS Cover: Chrysaora Hysoscella by Charlotte Sams, Contents: EWCP by Rory Matthews, Colophon: Fish by Charlotte Pegg Back Cover: Tea by River Thompson Thanks to David White | Duckrabbit

FEATURES

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Kosovo: Forgotten but not Gone

Common Form

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Alex Walker

Rosie Jenkins

Chrysaora Hysoscella

Constructing Destiny

Charlotte Sams

Alex Atack

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Gym

Apex

Artur Tixiliski

Olivier Owens

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EWCP

Exmoor Cleansing

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Rory Matthews

Sophie Bolesworth

Renewable Exposure

Fish

Natalie Cheetham

Charlotte Pegg

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Hermaphrodite

Challenging Blindness

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60

Lou Lou

Tom Pullen

Tea

Living on the Edge

River Thompson

Molly Michelin

INTERVIEW

28 Stuart Freedman | Photojournalist

PIG HOUSE

PICTURES Editorial Editor: Artur Melez Tixiliski artur@pighousepictures.com

Assistant Editor: Tom Pullen tom@pighousepictures.com

Art Editor: Joel Hewitt joel@pighousepictures.com

Contributors Alex Atack alexatack.co.uk

Charlotte Pegg charlottepegg.com

Sophie Bolesworth sophiebolesworth.com

Tom Pullen tompullen.co.uk

Natalie Cheetham nataliecheetham.co.uk

Charlotte Sams

Rosie Jenkins rosiestellajenkins.co.uk

River Thompson riverthompson.co.uk

Rory Matthews rorymatthews.co.uk Molly Michelin mollymichelinphoto.co.uk Olivier Owens oliverowensphotography.co.uk

charlottesams.com

Artur Tixiliski arturtixiliski.com Alex Walker agbwalker.com Loulou Janes loulou.janes@yahoo.com

Contact pighousepictures.com contact@pighousepictures.com submit@pighousepictures.com @pighousepics

PIG HOUSE

PICTURES

PIG HOUSE PICTURES FOREWORD: DAVID WHITE

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PIG HOUSE

PICTURES contemporary images with purpose

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foreword This is a privilege. Being asked to write this intro is a privilege for me, and this entire publication is a privilege for you. My first thoughts on seeing this edition were on how eclectic and inspirational the contents are. The ‘Pig House’ is maturing, contributions are strengthening and diversity of content is increasing. The quality of content in this publication is outstanding. As the strap line on the cover says: “Contemporary images with purpose”, I have to agree.

In many ways this issue is a mirror of the space from which it was created - a space that allows exploration, questioning, experiment and discovery. It is a great honour for me to work alongside many of the contributors to this publication, sharing ideas, pushing abilities and watching stories grow. I am personally very proud to be part of a university that inspires students enough to produce such delicious work. This publication does not need to exist. Noone has asked for it. It is not being assessed, graded or marked.

This is work that is produced for love...for the love of photography, the love of stories, the love of communication. What better reason can there be?

I would like to thank each and everyone who has been involved in putting this edition together and all who have contributed. Thank you for allowing me to learn, to be inspired, to dream. Every day is a school day for me too, and long may that continue.

I only have one criticism. I want to see more.

david

white

|

editor

of

duckrabbit

senior lecturer at falmouth university

and

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KOSOVO FORGOTTEN BUT NOT GONE

WORDS AND PHOTOGRAPHS ALEX WALKER

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PIG HOUSE PICTURES FORGOTTEN BUT NOT GONE

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The global recession of 2008 has affected many people and continues to do so in 2013. It is not only those who have lost their jobs but also those entering the work force. Much is spoken of the plight in countries such as Spain, Italy and Greece where the recession has hit hardest.

However Kosovo, Europe’s newest country, has greater problems to solve.

The conflict that engulfed the country in the 1990’s culminating in well documented ethnic cleansing, massacres and destruction of 1999 making headline news around the world has been almost forgotten.

Overshadowed by events such as the World Trade Centre attacks and the War on Terror, the media has moved on, with the country being left to cope with the longterm aftermath of war.

Today, Kosovo has the youngest population of any EU country with over half being under 25 and an unemployment rate of 75 per cent in this age group. Unable to travel freely to other countries or leave without a visa, they are “trapped” inside Kosovo’s boarders, the ninth poorest country in the world. With ever dwindling international aid and corruption, a destroyed manufacturing industry and poor infrastructure due to lack of investment, there is little for young Kosovans to do apart from drink coffee, meet with friends and fill time aimlessly with ever growing frustration about the current situation.

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PIG HOUSE PICTURES CHRYSAORA HYSOSCELLA

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Chrysaora Hysoscella charlotte sams

This summer, all across the coasts of the UK, there was an influx of jellyfish.

Cornwall experienced blooms of hundreds of jellyfish, lasting for days on end, with the jellyfish present over many months. The slow spring followed by the especially warm waters created an ideal breeding environment. Globally, jellyfish are on the increase, with theories for the reason behind this still being discussed.

The most abundant species in all my personal sightings was without a doubt the Compass Jellyfish, Chrysaora hysoscella.

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PIG HOUSE PICTURES GYM

by artur tixiliski

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GYM sam reece, bodybuilder a series of portraits exploring the complex psychology of body building, vanity, fitness and health

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EWCP WORDS AND PHOTOGRAPHS RORY MATTHEWS

PIG HOUSE PICTURES EWCP

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housands of meters above sea level in the mountainous afroalpine regions of Ethiopia lives the Ethiopian wolf, the most endangered mammal in Africa.

In the southerly Bale-Robe province, where the largest remaining population of approximately 300 wolves remains, lays the remote mountain town of Dinsho where EWCP, the only conservation project for the animal, is headquartered. It is here that the majority of efforts to prevent and react to that which threatens the species is launched.

The organisation’s work focuses on two sub-populations in the National Park areas of the Web Valley and the Sanetti Plateau.

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LEFT A member of the EWCP team picks his way amongst rocks whilst stalking one of the Web Valley’s many wolf packs in the early morning mist. One of the core activities for the organisation is to constantly monitor the wolves by eye in order to be sure of their safety and health. Some of the more experienced members of the teams develop the ability to identify the static form of the wolf from many kilometres away in clearer conditions where those who are less experienced rely on movement.

ABOVE A local man sits down to salted coffee during a discussion with members of EWCP in his home in the Walla Kebele not far from base camp. The number of settlements in the area has been slowly increasing since the early 1990s and with this has come an increase in the greatest short-term threat to the wolf, disease, which spreads into the population from domestic dogs. A subsequent increase in quantities of livestock presents the greatest longterm threat; cattle and other animals overgraze and trample the habitat of the rodents that the wolves rely on for survival. As the valley lies inside National Park territory the typically luscious ‘protected’ vegetation in fact encourages increasing numbers of people to move into the area in order to graze their animals illegally on the land.

PIG HOUSE PICTURES EWCP

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A wolf sits amongst helichrysum on the Sanetti Plateau, which is home to the largest remaining wolf population at no more than 200. Great volumes of tourists visit the area each year but often only for the chance to see some of Ethiopia’s many endemic bird species. The wolf, which has rapidly become the world’s most endangered canid, remains largely ignored.

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Umar Wali, guard for the newly built football stadium in Dinsho, waits with two painters as the last remaining pieces of equipment are removed from the pavilion. The stadium, which was solely funded by an individual EWCP donor who wished to provide something for the local community, is being sold back to the local government as grazeable land after the same donor reneged on his promise, leaving EWCP to pay the majority of the remaining costs. Finding consistent funding for the conservation of the Wolf is particularly difficult for the organisation and a great deal of time is spent by administrators on applying for grants and sponsorships. As it is the only conservation program for the Ethiopian wolf there are ultimately great fears for the longevity of the species.

PIG HOUSE PICTURES EWCP

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Muktah Abute, head of the vaccination team, kneels in a field upon hearing echoes of the call to prayer from a nearby town. With a diploma as a veterinary technician he is one of the most qualified members of the team and, funded by EWCP, is currently completing a bachelor’s degree at the Veterinary Institute at Addis Ababa University. Religious affiliation in Ethiopia is split roughly in half between Christianity and Islam. Friction between the two groups is thus greatly reduced in comparison with some other parts of the world and, in fact, close proximity to one another during field operations often fosters strong friendships within the organization.

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A dog writhes violently against a noose that has been drawn around its neck in order to restrain it while it is vaccinated against rabies. Though the animal is unharmed, the vaccination process proves quite a spectacle and attracts many onlookers. Through extensive dog vaccinations it is hoped that further rabies outbreaks in the surrounding wolf populations will be avoided even if local families choose to take their dogs into the habitat. Such outbreaks have been known previously to reduce a healthy population of wolves by more than two thirds in fewer than three months. Many failed attempts have been made to secure governmental funding for the costly vaccines that must be administered to each dog once every three years.

PIG HOUSE PICTURES INTERVIEW: STUART FREEDMAN

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stuart freedman | photojournalist

stuart freedman is a photographer and writer based between london and new delhi

tom pullen

(who I’d later work for at the Independent on Sunday Magazine). It showcased really excellent work from great photographers stuart freedman - from advertising to photojournalism and I’m waiting at Terminal 5 at Heathrow it caught my imagination. It tuned my life waiting to board a flight to Africa on a around. I thought “I can do this”. I ended job. When I get back I have a two books up photo editing the university magazine in the works and a lovely portrait job for a for a term because of it - I had absolutely no magazine. experience and my pictures were awful...I still have many of these magazines and tp every time I look at them I am struck by What got you into photography, and what just how wonderful they were. I suppose or who influences you? from the very start my work was influenced by my politics - by seeing that there was much wrong with the world and trying to sf engage with it to change. When I started I I think I really discovered photography in my second year at University in Sheffield (I thought that photography had the power was studying politics and modern history). to change things directly - I was a bit It struck me as a pretty good way to engage naive but I don’t regret feeling like that. with and change the world. I suppose that Now I think that there’s not such a linear connection. Many things can change the I was looking for a vehicle to do that and, as I had absolutely no idea what I was going world or at least people’s perceptions of it but I don’t think it’s such a straightforward to do with my life, it seemed a reasonable choice. I remember discovering a magazine equation. I suppose the truth is (and has probably always been) that I’m less called Photography - a really beautiful but interested in photography than what it can sadly deceased magazine edited by Nigel Skelsey (ex-Telegraph) and Victoria Lukens do - it’s transformative power if you like, What are you up to at the moment?

© artur tixiliski

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transformative both for the audience and the photographer. That said there is something beautiful about a great image. I really think that if you’re going to make a picture of something, you should try and make the most interesting and beautiful image you can. Not only to please some aesthetic yearning but in doing so you draw people in - people are attracted to beautiful things. In terms of influences - as people - are too numerous.

In terms of writers, Ryszard Kapuscinski, Sven Lundquist, Gelhorn, Norman

Lewis - certainly Chatwin, Thubron.

Photographers - Mary Ellen Mark for her persistence: William Albert Allard for revolutionising the way I think in colour; Alex Webb and Harry Gruyeart for extraordinary images; Philip Jones Griffiths for his humanity. So many others - many ex-Network photographers – people like Gideon Mendel who was so instrumental in getting me elected to Network in the first place. McCullin, Nachtwey, Kai Weidenhofer (for his bloody minded persistence) so many…

PIG HOUSE PICTURES INTERVIEW: STUART FREEDMAN

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tp

Your work has seen you document plight and suffering around the world. The recurring ethos behind your work is “débrouillardise”, the art of getting by.

Could you explain how this is important to your practice, and the way your work is viewed by a wider audience?

sf

The débrouillardise idea came about because I’d done lots of stories that showed a darker side to the world - and that seemed to appeal to magazine’s agendas. It increasingly felt out of kilter to how I was experiencing the world on the ground. Sure, the world is full of pain and suffering but those people I was working with in Africa and Asia weren’t living stereotypes. They were resilient and they were positive in the face of all of their travails. The débrouillardise word that I found in French Africa wasn’t a romantic notion - quaint poor people. I’d gone to the Developing World expecting to find great difference and found similarity.

People all over the world fall in love, have fights, dote on their children - why shouldn’t the poor smile and laugh? It just happened that many were living through conflict and terrible poverty. We seem to increasingly live under a system where poverty is viewed as some kind of moral failure and that’s hopelessly wrong and cruel. The idea became a motif - it wasn’t that I consciously went out to shoot it, just that over time the theme came together. How the work is viewed is really a question for the audience if they think it’s successful or not. However, something that Saul Leitner (who has sadly just died) said really strikes home. “Some photographers think that by taking pictures of human misery, they are addressing a serious problem. I do not think that misery is more profound than happiness”. Amen to that.

tp

What is the toughest situation you have been in as a photographer, and how did you deal with it?

sf

I don’t know - a few tricky ones but

ultimately you are there as a journalist and it isn’t really about you. There’s enough ‘me’ reporting out there. At the end of it I can (usually) leave and I suppose that’s the ultimate way of dealing with it. But a few – a brush with execution in Sierra Leone during the coup in 1997, literally facing thousands starving and dying en masse in front of me in South Sudan in 1998 - and then having to try and photograph what I saw - being completely helpless in the face of it. Being arrested in Burundi wasn’t nice, nor was being under really indiscriminate and chaotic mortar fire during the siege of Kabul in 1994. A homeless child I photographed by the railway tracks in

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Delhi a couple of years ago having fleas picked out of her hair and her face saying ‘this is it’ made a mark on me. Losing at least thee close friends in war (Paul Jenks (Croatia), James Miller (Palestine), Tim Hetherington (Libya). What else can I say?

tp

With an infinite number of important stories to be told, and a horde of photographers to cover them, what are the most vital qualities a documentary photographer should have?

sf

Persistence and drive. Ingenuity and

a thick skin. Being honest. Patience.

Something Capa said is “Like the people you shoot and let them know it”

tp

Working with agencies for the most part of your career, how would you describe the relationship and benefits of these partnerships?

sf

I’ve been at a few agencies - FSP/Gamma, Network Photographers and now Panos.

All different but certainly with Network (which was a co-operative) and Panos, the idea that you have support and likeminded people around you is invaluable.

PIG HOUSE PICTURES INTERVIEW: STUART FREEDMAN

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“read as widely as you can literature, history, reportage, travel - anything. read a newspaper every day. listen to the radio - how can you make documentary work about the world if you aren’t informed? Be curious.”

tp

Today, photographers are being pushed to be multi-disciplined, with a current emphasis on multimedia. Do you have any thoughts on how photojournalism can be pushed to remain current, fresh, and above all, relevant to the audience?

sf

I think that we have to engage with the world in new ways certainly but there must be a linear narrative of a good story well told. You can do that in any number of media - it doesn’t matter so much - I like to write, others film but as long as your work is strong and engaging you will find an audience. New ways of story telling will emerge and one thing I know is that it’s impossible to second-guess technology or where it will take us.

tp

With newspapers cutting staff photographers, the rise of citizen journalism, and magazines making cuts, what do you make of the future of photojournalism?

sf

The point seems to me to be that we have to rapidly set ourselves apart from those amateur ‘citizen journalists’ who record events on an iPhone. It may be that in the

absence of a professional journalist, their images may run first. But whose images will the public trust? The voracity of what we as professionals produce should be the defining factor that sets us apart from the herd. Our images should be the trusted ones – analogous to a journalist’s direct quotes.

We are there first and foremost as a conduit for other peoples stories. We tell them directly, well and with no artifice. I should add - with as little trace of ourselves as we can - or at least our egos.

tp

Do you have any advice for photographers just starting out?

sf

Read as widely as you can - literature, history, reportage, travel - anything. Read a newspaper every day. Listen to the radio - how can you make documentary work about the world if you aren’t informed? Be curious. Be angry about the world and its injustices, but be joyful that you’re part of it and remember that the world is a pretty wonderful place.

tom pullen is assistant editor of pig house pictures

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PIG HOUSE PICTURES RENEWABLE EXPOSURE

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RENEWABLE EXPOSURE natalie cheetham

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by reusing each frame of a 120mm film four times, i was able to mimic the renewable properties of wind turbines. this is the beginning of my multiple exposure, renewable energy project.

HERMAPHRODITE

PIG HOUSE PICTURES HERMAPHRODITE

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by

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LOULOU JANES

PIG HOUSE PICTURES HERMAPHRODITE

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PIG HOUSE PICTURES TEA

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Tea river thompson

Tregothnan Estate produced the first ever tea on British soil and the plantation is still the only producer growing tea in England. Based in the South of Cornwall, it has been a working estate since 1335.

This photograph explores our relationship with the environment and landscape as well as tradition and culture.

Pictured here is one of the gardeners who works the plantation all year round.

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rosie jenkins

COMMON FORM

PIG HOUSE PICTURES COMMON FORM

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archit ec our su ture is an rro intrin si status undings, w ith hi c part of o n w ha era t is a nd wha rchical this w aesthetical t is ly ple or asing. n’t archit k seeks to ectur repres ent or by rem e that is dina often oving overlo ry distra oked landsc ctions in the ape.

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PIG HOUSE PICTURES CONSTRUCTING DESTINY

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CONSTRUCTING DESTINY words and photographs

alex atack

PIG HOUSE PICTURES CONSTRUCTING DESTINY

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Dubai, United Arab Emirates This project is about the concept of manifest destiny - “the God-given right to explore, conquer, and claim new territories” - and how it applies to the exponential amount of construction taking place in Dubai.

The early development of the city is commonly attributed to the vision of then- Prime Minister of the U.A.E. Sheikh Rashid bin Saeed Al Maktoum. His early expansion plans - including Port Rashid and the Dubai World Trade Centre - were to form the roots of the city as it is today.

These development strategies continued gradually throughout the 1980s and 90s, forming the basis of what Emirati economist Nassar bin Ghaith refers to as the “pre-2003 model” of the city.

During the early phases of the recession, news reports of unfinished suburban developments and empty skyscrapers in Dubai became a cliché in the U.K and throughout many Western media outlets. There was a lot of exaggeration, but the essence of what was happening started to become clear -- the post-2003 “real estate adventure model” of Dubai had started to split at the seams.

The main political difference between Dubai and many of the countries from which its immigrant population hail is that it is not a democracy. Decisions are within the hands of one governing body and, whilst it is arguable that this formula works, the many complex failures that Dubai suffers are frequently watered down in local media and so rarely come to light in a way that is free from bias by either local or international media.

The issue that Dubai perhaps most commonly comes under scrutiny for is its migrant worker population, with many writers labeling the construction workers as 21st century slaves. Whilst exaggerated, these claims are not unfounded. During the early-to-mid 2000s, whilst Dubai was still building its way to international prominence, human rights campaigners and journalists severely criticized the living and working conditions of the migrant workers for breaching basic human rights. This received much coverage by international media and caused an issue that the local authorities could no longer ignore.

Emirati businessman and university lecturer Mishal Kanoo once claimed that the blame sits with contracting companies. It is clear, however, that if the companies are to blame, there is a lot that the government could do to regulate them.

The main issue with Dubai is in its youth. Whereas most international cities have had decades and even centuries to gradually change and adapt to get to where they are at now, Dubai, in its current state, has been around for little more than 40 years. The issue is reflected in its expansion plans - it’s a city attempting to make up for what it lacks in age by putting itself in a state of constant high intensity development. It is also a city still in BETA mode and, whilst this is no reason to justify its many failings, it is the main reason why there are so many of them. As bin Ghaith put it; “a model has failed, an attempt has failed, but not Dubai itself”.

WORDS AND PHOTOGRAPHS OLIVIER OWENS

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APEX

PIG HOUSE PICTURES APEX

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A

s a result of the expiration of apex predators in Britain (the last being the wolf in the 1700’s), there are almost certainly more deer living wild in the UK today, than ever before. If deer numbers were left to increase they would have a huge impact on the natural landscape, preventing the process of natural regeneration by eating newly formed shoots of trees as well as causing many road traffic accidents. These uncontrolled deer populations represent a serious threat to our woodlands and the species that depend on them, which is one of the vital reasons why wild deer numbers are managed today.

Deer Management was a four month study, investigating the six species (Fallow, Red, Roe, Sika, Muntjac and Chinese Water) of deer which currently inhabit Britain, their effect on the landscape and the measures taken to control them. Throughout the project I was able to shadow members of a local deer management group, which allowed me to capture intimate images between the stalker and his prey. From this I created a series of images which aim to create a narrative, showing the process of deer management through the stages.

PIG HOUSE PICTURES EXMOOR CLEANSING

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Exmoor Cleansing sophie bolesworth This project explores a community living in an isolated corner of Britain, and the lengths that they go to in order to maintain the pure-breeding of the endangered Exmoor wild ponies. The unique tradition has no financial reward for the families who practice it.

What is preserved through their annual efforts to manage the breed is a small slice of unaltered, historic Britain.

Once trapped on the farm, all newborn foals are caught, restrained and examined to determine whether they are purebred or displaying genetic abnormalities; signs of which are white hairs or white hoof markings amongst the correct pure brown.

All the pure brown foals are ‘Anchor’ branded, micro-chipped and sold to breed enthusiasts or placed back onto the Moor.

Foals displaying incorrect markings can’t go back into the herd, as cross breeding will diminish the sale value of the animals, and dilute the prehistoric appearance of the ancient herds.

Farmers work with the Rescue Centre on Exmoor, who will adopt as many ‘incorrect’ young as financially possible, as the majority in recent years, have not been of

sale interest at market. The animals that cant be rescued are sent to the hunt kennels.

In light of recent discussions in the news, and also HRH Princess Anne’s recent comments on the eating of horse meat; is the discarding of this livestock something that should be of wider interest, and addressed by the general public?

Lawrence Wallace hunts for the wild herd, across 12 square miles of moorland.

His father David Wallace, owner of the ‘Anchor Herd’, searches though the fog on horseback.

PIG HOUSE PICTURES FISH

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“creativity involves breaking out of established patterns in order to look at things in a different way.” edward de bono

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species adaptation and variation amongst fish using an anatomical, laboratory approach by charlotte pegg

PIG HOUSE PICTURES FISH

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PIG HOUSE PICTURES CHALLENGING BLINDNESS

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Challenging

Blindness elsie, 86 years old st. austell blind shooting Club

by tom pullen

Every year 23,000 people in England lose their sight. This year, the RNIB revealed a 40% decline in the number of blind and partially sighted people receiving support from councils in England between 2005 and 2013. If current trends continue, in less than 10 years people suffering from sight loss will receive no specialist assistance from their local council.

This project seeks to represent the visually impaired who benefit from funding in Cornwall, highlighting the importance of the Cornwall Blind Association at a time of ruthless local government cuts.

The volunteer led and charity funded Association facilitates community groups, such as shooting, sailing, dancing and guitar tuition for the blind, whilst also helping in simple daily tasks so that people can attempt to adjust and cope with sight loss. “i started shooting 12 years ago when i began to lose my sight. it was something to do, and i thought why not? i’ll try anything once. it’s a good club; we all join in together, given that we’re all in the same boat. no good sitting down and looking sorry for yourself. you’ve got to get out and get on with it. just because you’ve lost your sight doesn’t mean you lose your life.”

PIG HOUSE PICTURES LIVING ON THE EDGE

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Living on the Edge molly michelin A remote archipelago at the mercy of the ocean, with its rich diversity of life and everchanging weather, Shetland is a hotspot for any keen naturalist and wildlife photographer. The cliffs at Hermaness National Nature Reserve are home to over 12,000 gannet pairs, Britain’s largest sea bird. The raucous cacophony of seabirds, the signature aroma of the guano as it rises up from the cliffs below and the natural amphitheatre that unfolds before your eyes is a true feast for the senses.

Literally living on the edge, only meters above the relentless and unforgiving power of the ocean, the gannets appear completely at home.

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PIG HOUSE

PICTURES