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By admin, February 10, 2010 8:02 pm

The danger of entering photography as a profession in the 21st Century is that of being derivative. We are gradually drowning in an ocean of imagery swelling at an exponential rate as more and more people look to forge careers as photographers. The irony is that many established practioners openly question how much longer the traditional idea of photography might be commercially viable. In the meantime the wannabes churn out work that is little more than a pastiche of the work that inspired them to pick up a camera in the first place.

On the positive side, the more enured we become to seeing the same things endlessly repeated, the greater the satisfaction that arises from catching the glint of a gem in the sunlight. Today I have had one of those moments, and I am going to stick my neck out on the block.

Promotional images shot for Carmel Walsch, a Florence-based Irish shoe designer. © Leo Bieber 2010

While others his age were studying assiduously, a young British boy moved from his family home in Sussex to a flat in Florence in an effort to learn how to be a photographer by learing about life. To put it another way, he set out to become a photographer the old fashioned way. Driven by what is going on in his head and in front of his eyes, his creative sparkle has not been throttled by an over-emphasis on technique. While he is interested in many genres, he has determined that his own innate passions and creative bents should shoulder the burden of developing his eye.

Promotional images shot for Carmel Walsch, a Florence-based Irish shoe designer. © Leo Bieber 2010

I have been watching his work for a couple of years, and from what I have seen his sense of style is unique. Clearly I am not the only one to think so, as he has started to pick up some interesting and enjoyable commissions. Where others his age might be tempted to do the easy thing and make the money, he sees every job as an opportunity to push his creative envelope.

He still has a long way to go, but I think Leo Bieber is a name to watch.

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By admin, January 23, 2010 8:56 pm

I had the pleasure of covering Fortune Magazine’s Most Powerful Women lunch at the Walbrook Club in London a few days ago, and was struck by the juxtaposition of a “gentleman’s club” with the colour and sophistication of the women in it. I found myself smiling at the seeming incongruity of the rather staid and forlorn hanger of “emergency ties” tucked behind the beadle’s enclosure that seemed to belong to a different age. An age finally losing its grip as women prove themselves to be more than capable of anything they want to do.

Catherine Mayer, Time’s London Bureau Chief, welcomed those present remarking that she had once thought such events would be redundant in the 21st Century. To prove how wrong she was, she recounted the recent story of a friend who is a fund manager. The CEO of a large company had hoped that the fund would invest in his business and arranged a meeting. Said CEO entered a room to meet the fund manager and her two junior male associates. He introduced himself to the associates and asked the fund manager for a tea with two sugars. Apparently the fund manager did invest in the company, saying that “with such a stupid man at the top I knew it was ripe for takeover.”

I think we deserve everything we get.

To be fair, it is symptomatic of a deeper malaise. We are all alike incapable of judging people by their merits when there is so much to distract us on the surface. Women can be just as guilty, but where they really score is in an innate understanding of the fact that image matters. While men congratulate themselves on having the balls to wear a colourful tie with their grey, crumpled, and dandruff-flaked suit, women show that they can run the very biggest organisations brilliantly, and still have time for personal flair and colour. If they are going to be judged for how they look, they aim to look good.

In the few seconds I had to work around my brief, I thought I would concoct a little homage to their sense of style:

To find out more about Torley and his music click here.

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By admin, January 17, 2010 12:01 am

There is, apparently, no season for earthquakes. They can and do happen at any time of the year. But with the news pouring in from Haiti, I can’t help but think this time of year is when earthquakes happen, January in particular seems to be “popular”.

I have to confess to a personal interest. Fifteen years ago today, a matter of weeks after giving up the day job to pursue photography full time, I was in Japan working on the research for a picture story I was going to do on the A Bomb survivors. It was coming up to the 50th anniversary and I wanted a counter in the western press to the stories that were inevitably going to run. I had interviews set up, access to the archives and museums, and a great many people eager to help. What I lacked was an innate understanding of what it was like to be in a city that is destroyed in a matter of seconds. I was based in the Kansai city of Kobe.

The former (and now deceased) PA picture editor (and one of the founder members of the Picture Editor's Guild) Eric Pothecary told me that this was the best photo of "shell shock" he had seen since McCullin's famous image from Vietnam.

Fires consumed whole city blocks.

At 5:46am local time an apparently dormant fault under the northern tip of the island of Awaji, about 20km from Kobe, ruptured at a depth of 14km. The resulting earthquake was measured at 7.3 on the Richter scale, and was the first recorded earthquake in Japan to reach 7 on the Japanese Closed Scale which measures the intensity of the tremor as experienced by people and objects on the earth’s surface, as opposed to the Richter Scale which is concerned with the seismic energy released at the epicentre of an earthquake. In terms of how it felt for people in Kobe, it recorded an 11-12 on the Modified Mercalli Scale; that is “Very Disastrous” to “Catastrophic”. It was, and remains, the first major earthquake to strike at close quarters and a shallow depth relative to a major metropolitan conurbation. Japan is used to having earthquakes, and for years buildings have been built to “withstand” them.

The remains of a hopeless battle three days later.

Nevertheless, the violence of the earth’s motion was too great. Nearly 6500 lost their lives, with thirty thousand requiring hospital treatment and almost a third of a million rendered homeless. The final cost of the quake has been estimated at as much as US$200 billion.

I got what I was missing and discovered what it was like to be in a city flattened in seconds: it has coloured my view of everything ever since.

On the face of it, the quake in Haiti is similar, a shallow hit. But Haiti isn’t built to withstand it, and it does not have the resources to pick itself up. Japan, despite its considerable wealth  struggled, and to some extent through misplaced pride, it paid the price. Haiti asked for help right from the start, and it needs all the help it can get.

In the end, the size and place of this kind of disaster is incidental. Only those who have experienced it first hand can ever truly understand how terrifying it is when the ground – that one thing that we all take as a constant – turns against you.

Today, of all days, my thoughts are with all those who have been scarred by earthquakes, and in particular it is with those in Haiti.

These are some of my photographs from Kobe, and form part of a very long term project called Shikata ga nai 仕方がない, a very common Japanese expression that translates as “It Can’t Be Helped”.

If you want to help the people of Haiti click here and donate to the Disasters Emergency Committee Haiti Appeal.

Because the water mains were ruptured, appliances had to be daisy-chained together from the nearest culvert to provide water to tackle the blazes. Many of the appliances were destroyed in their stations.

The high frequency earthquake was particularly devastating for low rise buildings.

Burnt out area in Nishinomiya, January 24, 1995.

Frequently only one hose could be spared for a fire that in normal circumstances would have required 10-15 appliances, let alone hoses.

This was as close as I could get with a 200mm lens without losing my hair.

The building to the right was a multistory carpark. The only noise you could hear was that of car horns and alarms, a noise which continued until the car batteries died.

The upmarket Kobe suburb of Ashiya.

Burnt out area, Amagasaki, January 24, 1995.

Fumi and her daughter Hana were pulled from the ruins of their home in the background. January 17, 1995.

Locally based soldiers tried to offer some assitance for search and rescue, but were hampered by the destruction and the peculiarities of the terrain: a thin strip of habitable land bordered by mountains and the sea.

Where people were pulled alive from the ruins friends and family used anything as a makeshift stretcher to get them to the hastily erected field medical centres, all the time dodging live sparking power cables.

People were stunned by the destruction and ensuing fires, not really knowing what to do next.

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By admin, December 10, 2009 3:15 pm

Hugh Masekela

Been up to my eyeballs the last week or so, and not really had the time to post, but just thought that I would pay homage to a jazz legend that I had the opportunity to meet and photograph yesterday, Hugh Masekela, along with the younger and hugely influential artist Will.i.am of the Black Eyed Peas.

Will.i.am

Masekela has been celebrating his 70th birthday for the last eight months, and will be giving a concert with the LSO at the Barbican tonight.

Will.i.am as well as being the frontman of the Black Eyed Peas is arguably one of the music industry’s most sought after producers, and has collaborated with many of the greatest names in music, including Michael Jackson, Mariah Carey and Whitney Houston, to name a few. Apparently he was going to spend some of today with Mick Jagger – it’ll be interesting to see where that might lead creatively.