FROM THE INSIDE

Photojournalism Hub welcomes three photographers whose work addresses disabilities and stigmas – of their own or of the others .

28th February 2022 18:30 – 21:00

The Invention Rooms, Imperial College
68 Wood Lane
London
W12 7TA

To join: HERE

©Patricia Lay-Dorsey

Living with one or more chronic conditions is the daily routine of so many people in the world. Nonetheless, the way visible and invisible illnesses are portrayed by media, films, and schoolbooks can be highly frustrating. “The disabled” tend to be portrayed as dependent persons who constantly need help. When they are not, they tend to suddenly become heroes, simply for facing their daily lives. Both views point out that the invisible barrier of unconscious stereotypes and bias on the others’ daily truth is the biggest hurdle for a disabled person. For this reasons, Photojournalism Hub welcomes three photographers whose work addresses disabilities and stigmas – of their own or of the others – in differently unique ways: Patricia Lay-DorseyJameisha Prescod and Sophie Harris Taylor.

©Sophie Harris-Taylor
©Jameisha Prescod

This event will be hosted by Sabrina Merolla. She is a documentary and press photographer, multimedia storyteller and participatory photography facilitator, who has shown her daily routine of “diverse ability” in more than one personal project. www.sabrinamerolla.co.uk

Photojournalism Nights 20th edition

Photojournalism Hub twentieth edition of the Photojournalism Nights presents a superb line-up of guest photographers: Carol Allen StoreyChristopher Bethell Kevin Percival 

Hotel Elephant
1-5 Spare Street

London
SE17 3EP

17th February 2022 06:30 pm till late

To learn more and to join us follow this link here.

Elizabeth provides some physical comfort to her sonAmon by gently bathing him in the shade of banana trees.His body withered from the AIDS virus. Kamughobe , Uganda Carol Allen Storey
©Chris Bethell

Grace outside her home on Wornington Green, the estate where she has lived since she was 28. Made as part of the Wornington Word project, which documents the story of a housing estate in the midst of regeneration, through photography and oral history. ©Kevin Percival

Photojournalism Nights 19th edition

Photojournalism Hub nineteenth edition of the Photojournalism Nights presents a superb line-up of guest photographers: Diego RadamesGodelive KasangatiNic Madge.

To join us here

CEUTA, SPAIN – MAY 19. group of migrants who came swimming to Ceuta are intercepted by the Spanish army on May 19, 2021. Approximately 8 thousand migrants, mostly Moroccans, have crossed the Spanish border through the Tarajal pass since last Monday. Thousands have been returned to Morocco. ©Diego Radames
©Nic Madge
DRC, Kinshsa, Notre-Dame de Lemba Catholic Church, the main hallway of the church. ©Godelive Kasangati

Photojournalism Nights 18th edition

Photojournalism Hub eighteenth edition of the Photojournalism Nights presents a superb line-up of guest photographers: Susannah Ireland, Jermaine Francis, Sabrina Merolla.

25th November 18:30 PM

The Invention Rooms
68 Wood Lane
London
W12 7TA

To Join: HERE

Rumi Munawar, former Miss Pakistan for UAE 2015 pictured in Sharjah, United Arab Emirates, 14th October 2016. Photo Credit: Susannah Ireland
Credit: Jermaine Francis
City, Country, Date DD MMM YYYY

Susannah Ireland, is a freelance photojournalist and documentary photographer based in London, UK but working internationally as well. She began her photojournalism career on a local news agency in Birmingham in 2006, graduating to London the following year to work principally for The Times and Independent newspapers. Following a brief stint working in India, Susannah moved back to London and now undertakes news, features and portraits assignments for a variety of international clients such as NBC News, The New York Times and NRC Handelsblad. She is a member of Women Photograph – a platform of independent photographers working to elevate the voices of women and non-binary visual storytellers worldwide. She is particularly interested in documenting the humanitarian impact of conflict and environmental disasters on local communities.

Jermaine Francis, is a London based Photographer who works with portraiture and conceptual documentary projects, using editorial, personal projects, and books as vehicles to tell these stories! Jermaine’s work has appeared in publications such as I-D, The Face Magazine, Autre Magazine & Beauty Papers. His work has recently appeared in Aperture’s latest publication the monograph Photo No, No’s, as well ICP book ICP Concerned, Global Images for Global crisis! Jermaine’s work has also exhibited at the National Portrait Gallery as part of the Taylor Wessing, The International Centre of Photography NYC in the group show #ICPConcerned and his solo show ‘The Invisibles’.

Sabrina Merolla has collaborated with Photojournalism Hub for more than one year. She is an awarded photographer, cultural studies researcher, multimedia journalist and participatory photography facilitator. Sabrina has a strong work ethic and is committed to telling stories in which the general fairness of the narration is granted by long pre-field and on-field research. She focuses on the environment, communities, health and human rights.

Donations are welcome. To Join: HERE

Photojournalism Nights returns to White City!

The second edition of the Photojournalism Nights at Elephant West gallery was met with an engaged audience, inspirational and talented guest photographers presentations, keynotes by Emma Perfect, global head of diversity and inclusion at Soho House, media partner Photo Archive News, networking and conversations till late at night at the bar/lounge of eclectic Elephant West gallery and the opportunity to bring home one of the donated photographs from the photographers printed with the support of Genesis Imaging UK.

I could not ask for a better night to present and showcase powerful long form photojournalistic projects exposing, reflecting and questioning the current political climate through the notion of European identity and Belonging.  Presentations began with Claudia Leisinger with her project Europe Revisited documenting the lives of Roma families living in stark poverty in Serbia which questions the distribution of welfare and resources in Europe.  Followed by Pete Boyd, whose work looks at where and how young people think they belong: what it facilitates; how they define who is a member and who  not; how they signal their belonging; who they are allowed to be and  what they can express; what they consciously adopt and what others foist upon them; and what they have to do to survive it, then to Sukhy Hullait who for 100 days documented  in various cities in the UK, the opinions and feelings of people towards Brexit. Finally, we had the presentation of Quetzal Maucci, whose work looks at the lives of children of immigrants in the States and in the UK demonstrating the universality of those people caught in-between belonging. Four people won a photograph each from the raffle tickets and went home with on original print. This was made possible by the donation of the guest photographers and by Genesis Imaging which have supported this event.  There were a lot of questions at the Q&A and I am guessing much more later as people stayed behind till late conversing and getting to know each other.

The Photojournalism Nights are organised by the Photojournalism Hub to bring together photojournalists and share their work, discuss important social justice issues in order to engage in a meaningful way to important topics whilst support the photojournalists which often put their lives at risk in doing this.  The Photojournalism Nights are run bi-monthly at the Elephant West gallery and the next date will be announced shortly.  If you wish to follow our work click here.

PHOTOJOURNALISM NIGHTS 8th EDITION

02nd December 18:30-21:00 ONLINE

©Jim Mortram
©Kristian Buus
©Maria Tomas Rodriguez

The Photojournalism Hub presents a Live Stream of the 8th Edition of the Photojournalism Nights.

Please join the live stream of the Photojournalist Hub eighth edition of the Photojournalism Nights with an amazing line-up of photographers: Jim MortramKristian BuusMaria Tomas Rodriguez.

Jim Mortram, is a social documentary photographer and writer, based in Dereham, Norfolk. He is well known for his powerful and ongoing project , Small Town Inertia, which records the lives of a number of disadvantaged and marginalised people living near to his home, in order to tell stories he believes are under-reported.

Kristian Buus, is a freelance photographer based between London and Copenhagen. Much of Kristian’s work is covering protests and civil disobedience which relates to climate change issues and civil rights. Over the years he has been on the frontline of many direct actions in the UK following events, often very fast moving, involving police and a lot of stress covering them from a news perspective. Over the past few years, Kristian has focused on getting to know through portraiture and interviews, what drives people who put themselves at risk of arrest and possible injury, to amplify their voices. With this approach, he has covered the early stages of Extinction Rebellion and the Stansted 15 protests.

Maria Tomas Rodriguez, is a senior lecturer in Aeronautical Engineering in the School of Mathematics, Computer Science & Engineering. Among the many awards, Maria has won the Best Documentary Photography Award at the prestigious 2019 British Photography Awards with her work that focuses on Senegalese traditions.The Photojournalism Nights is an event that promotes committed and courageous photojournalism and engages the public to social justice and human rights.

To join us HERE

Interview with Clare Thomas, Photojournalism Nights guest speaker

This image has an empty alt attribute; its file name is CT_Iraq_04JULY17_8108-1024x684.jpg
©Claire Thomas – Injured and sick civilians are treated at a makeshift field clinic set up inside an abandoned store on the edge of Mosul’s Old City as the fighting continues to liberate the remaining ISIS-held territory, on July 4, 2017.

Claire Thomas is a photographer and photojournalist from Wales, UK, currently based between London and New York. Her photojournalism work focuses on issues relating to global political and military conflicts, human rights, and humanitarian and environmental crises. During her extraordinary career, Claire has produced compelling and timely images and has been extensively covering frontlines battles in ISIS in Iraq.

Q. How did you end up going to Iraq?

In December 2016, I decided to travel to Iraq independently with the goal of focusing on stories related to the military offensive to liberate the city of Mosul and the humanitarian crisis of people displaced by ISIS. Before that, I was based in Greece covering the refugee crisis where I met Kurdish and Iraqi families who had been displaced by ISIS. Hearing their stories, I wanted to better understand the horror that was driving people to flee their homes and risk their lives trying to reach the safety of European shores. As there was a lot of media attention on the war against ISIS in Mosul at the time, I decided to head to Erbil, the capital of the Kurdistan region of Iraq, and an entry point to Mosul.

Q. How long were you there for in total? Will you go back? 

My first visit to Iraq was for just 2 weeks, but I returned a few weeks later and ended up living in northern Iraq for two and a half years. I’ve been back for a few short trips since I left in June last year, and I hope to return later this year or next year. Erbil was my home for a long time, and I became very fond of the place and the people, so I think I’ll always go back whenever the opportunity arises. There’s certainly no shortage of stories to cover in the country, and I’m particularly interested to follow the progress of rebuilding the city of Mosul, which was heavily bombed during the battle against ISIS.

Q. This is very traumatic work, what do you do to decompress after a trip like this? How do you look after your mental health while working? 

I was lucky to have a great support network in Iraq, among other photographers and journalists, the medics I embedded with in Mosul, and also local friends and fixers. My way of decompressing is simply to talk about the situation, which helps me process my own thoughts and feelings, and I was glad that I had a lot of people I could talk to in Iraq.

I think it’s important to be aware of the emotional impact of doing this kind of work, and also to keep in mind that, as outsiders, it’s our choice to be there and we’re extremely lucky to be able to leave the war zone and go back to the safety of our homes at any time.

Of course, being confronted by violence and death is challenging and disturbing, and even more so is seeing people suffering the terror, pain and loss of war. The images that stick in my mind are of mothers crying over the bodies of their children, of soldiers wailing uncontrollably over a fallen comrade, of proud fathers broken by the loss of their loved ones, and the tearless look of shock on the faces of traumatised children. However, I try to focus my thoughts and energy on the incredible strength and resilience of the survivors and the people who helped them survive.

Q. I’m new to photojournalism – self teaching at the moment. How did you get started and did you go through formal means? And how did you get to work in Iraq? Did you pitch to someone as an independent? Would be great to know how it all works. 

I’m also self-taught with no formal training in photojournalism. I studied Politics at University, and after I graduated I spent several years travelling and working overseas. During that time, I developed my interest and skills in photography, and eventually started doing some freelance photography work for my local newspaper in Wales. After a few assignments in Wales I travelled to Palestine where I began producing photo essays about life in the occupied West Bank, which I pitched to several mainstream media outlets.

As a freelancer, I really appreciate having the flexibility and freedom to choose which countries I work in and which stories I cover. Of course, that flexibility comes with the necessity for extreme self-motivation, self-discipline and organisation, as well as the financial burden of paying our own expenses in the hope of selling the work afterwards.

My decision to go to Iraq was one I made independently – I wasn’t sent there by any media outlet. Once I arrived in Erbil, I spoke with a lot of other journalists and fixers to better understand the context and get an idea of stories I could cover that weren’t as widely covered as the military operation in Mosul. In the beginning, I captured the content needed for the story I wanted to cover – photos and interviews – and then sent a pitch with a small sample of images to media outlets. Once editors got to know me and my work, I started to get more commissioned assignments, often working alongside a writer.

It took me a long time to understand how the industry works for freelancers. For me, the most difficult part about being a freelance photojournalist is not the photography or journalism work itself but finding ways to get the attention of editors and my work published. I’m still learning myself, and the best advice I can give is to be persistent and determined, and get to know the publications you want to contribute to.

Clare Thomas
www.clairethomasphotography.com
https://www.instagram.com/claire_thomas_photography/


Interview with Felipe Paiva, Photojournalism Nights guest speaker

©Felipe Paiva

Felipe Paiva is a photojournalist from Brazil currently based in Paris, France. He is a post graduate in cinema and photojournalism and has been working on field covering countries such as France, Brazil, Iraq, Syria, Ukraine and Russia, including frontline work.

Q. How do you find a not obvious story to document? Any advice to new photojournalists?

To any new person, in any field, I would recommend doing a bit of the obvious. For the sole reason of getting familiar to the operations involved in the work. To find a non-obvious story I would say it is a good thing to get an obvious story and from that, extract something more personal. Maybe a character on that story has something that is not really related to the story but it is super interesting or of human value. 

One example is something I did in Ukraine. I went there to do work related to the conflict but I ended up meeting a gymnastic athlete from Donetsk. She took me to their training gym and I could have gone after her persona story. A young girl that dreams of going into the Olympics. Donetsk is known for having good athletes but nowadays is not part of any recognized country. So, its citizens train very hard, with old equipment, in a region that has seen its economy devastated by the ongoing conflict. Unfortunately, I couldn’t because of the short time I had in the whole country.

I hope that helps a bit. Other than that, go and do lots of stories, even if they won’t be published or if they are very local and “small”

https://www.felipepaivaimg.com/


Pin It on Pinterest