Vol.1 No.4

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Editor: Jon Levy Contributing Editors: Photo Sophie Batterbury Text James Loader Editorial Assistant: Phil Lee Art Direction: Grant Scott Design: John Bowling Publisher: Gordon Miller European Associate: Arnaud Blanchard Reprographics: Graphic Facilities Print: Fox Print Services

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Dear friend of ei8ht,Welcome to a new issue of ei8ht. If you have been with us since the start you’ll notice a few changes to the maga-zine. We have grown a section – eight pages – and added a new area for Reviews and Exhibitions. In each new issue of ei8ht we will present reviews of a selection of newly

released photography books, and commentaries from the world of photo-journalism. We will also print listings of important photography exhibitions on show across the UK, Europe and the rest of the world. Our sister website foto8.com will complement the magazine with more contemporary reviews and events. The stories in ei8ht are submitted from photographers all over the world. Our readers are similarly spread across the globe: they are 50% in the UK, 25% Europe, 25% USA and the rest of the world, including Australia, Azerbaijan, Brazil, India, Mexico and Singapore, to name a few. Because of the richness of international participation, the pages of ei8ht are a vital common ground for independently-minded photographers and writers who seek to publish their work to a wider audience.ei8ht is growing at a time when photojournalism is supposedly losing its value. In today’s flood of imagery we are painfully aware of the culture of “fast food” photography that is served up by photographers and mainstream publishers of newspapers and magazines. “Except for a few rare, solitary image-hunters, today’s journalists enrol in iconographic expeditionary corps, and embark in squads on

military-humanitarian ships sailing for the shores of misery.” (Edgar Roskis, in Le Monde Diplomatique.) For emerging photographers their expectations of there being a discerning industry, a genuinely interested picture editor or a supportive photo agency have all but disappeared and the market place is dominated by monolithic sales houses, and a monumental, “cheaper by the pound” mentality. Photography and photojournalism are at their best, however, when one delves deeper than just the latest news headline or passing fashion. In this magazine and this issue we do just that. We open up our pages and our readers’ eyes to the vitality of photojournalism and its practitioners. From the street children of St Petersburg to the nomadic herdsmen and women of the Nenets, these are new stories about things that are happening in our world today; these are stories produced by photographers with a point of view and the means to show it. Whether it’s the atmospheric black and white tones of the boxing ring or the primary colours of the youth in the Balkans, the pages of ei8ht carry new approaches to old themes, as well as new stories entirely. When Howard Chapnick, the legendary director of the Blackstar agency, talked about the currency of photojournalism he spoke about ideas: as a photographer, there is nothing more valuable in your bag than a good idea. In my view, photojournalism – as a vibrant medium for story-telling – is far from imprisoned by the bars of a cynical media; on the contrary it is breaking free with a plethora of new ideas and ways to realize them.

Wolfgang Müller has made Eastern Europe the focus for his stories over the past five years, after his report about a 10-year-old pimp, Sanya, from Odessa. Between 2000 and 2003 he visited St Petersburg numerous times, where he took the pictures featured in this issue of children and teenagers who live their lives on the street. During this time he accompanied eight different individuals and groups of youngsters, to be able to report as closely and as personally as possible about them. It was very important for Müller not to show the kids simply as victims. “Wherever possible I tried not to forget the moments of fun and happiness also in their lives. To present them as what they are - human beings.” For more of Müller’s work please see: www.freelens.com/storystock/karat www.freelens.com/storystock/sanya and www.designdiplom.de

Heidi Bradner grew up in Alaska, and studied journalism and history at university. After college she trained as a reporter for The Tundra Times (Alaska’s statewide native newspaper) before working as a freelance for the AP and The Anchorage Daily News. For the past 11 years Bradner has worked as an independent photographer based primarily in Eastern Europe and Russia. She splits her time between homes in London and Moscow and is represented in the UK by Panos Pictures. www.panos.co.uk, www.heidibradner.comRaphaël Gianelli-Meriano is a freelance photographer based in Paris, dividing his time working for the press, graphic agencies and on personal projects. His work is mainly based on the

different aspects of people’s interactions to their environment. Meriano’s photography has been widely published in France and internationally and has been exhibited in galleries in Montpellier and Nice. The Kinobuss Experience is the starting point for a series of projects Meriano is working on in collaboration with Estonian artists. www.aldentepictures.com Johann Rousselot studied photography in Brussels. His end-of-year project for college led him to explore the cult of the body, concern for self-image and individualism. It is a theme he has followed in his photography ever since. In 2001 he joined L'Oeil Public photo agency, dividing his time between press jobs, corporate assignments and personal

photographic investigations. www.oeilpublic.comWendell Steavenson lives in Tehran and writes for the Daily Telegraph, Time Magazine and opendemocracy.com among others. Stories I Stole, an account of the two years she spent in Georgia and the Caucasus, was published by Atlantic Books, London, in 2002. For more of Steavenson’s work see: www.opendemocracy.comFrancesca Yorke studied at St Martin’s School of Art and at the London College of Printing, graduating with a degree in film photography and television. She has developed a reportage syle with an empha-sis on detail which she applies to her subject. Yorke has exhibited her work at the Photographers’ Gallery in London. www.gettyimages.com

contributorbiographies

To purchase a print of this cover image please call +44 (0)20 7636 0399

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“ ... any man’s death diminishes me, because I am involved in Mankind”– John Donne (1571-1631)

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Editor’s Letter p.2

Contributors p.2

Contents p.3

Reviews and

Exhibitions p.48

Agency Listings p.50

Photographers &

Partners p.55

KARATAs St Petersburg prepares to mark its 300th year, Wolfgang Müller reports on the city’s marginalized children, abandoned and living rough on the streets p.4

THE NENETSHeidi Bradner follows the nomadic reindeer herders of Russia’s

Yamal peninsula during their annual migration across the frozen tundra p.16 STORIES I STOLE An extract from Wendell Steavenson’s acclaimed book, detailing her experiences living and travelling in the newly independent Georgia p.26

UNDER THE SKINJohann Rousselot’s vivid portrayal of youth in the Balkans as it seeks to build a better future, and forge itself a new identity, on its own terms p.28

LE CHEVAL APPLAUDITA short poem by Alain Bosquet p.33

CONTENTS:MARCH 2003

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Karat by Wolfgang Müller

“This is the story of someone who is falling from the 50th floor of a skyscraper.

To keep calm while he is falling he is saying to himself, over and over again:

‘So far so good, so far so good, so far ... so good.’“

La Haine, The filM by MaThieu KaSSoviTz, 1995

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While only a feW yearS ago St Petersburg, Russia, was a city in transition, gripped by waves of disintegration, it impresses today with a new metropolitan face. The old historical centre has been renovated, showing off stunning churches, palaces, museums and shopping streets.

Yet in the backyards of Nevsky Prospect, the main shopping street in the city centre, and behind huge advertisement boards that hide major construction sites, traces of a different world can be found. The countless needles that litter hidden corners and the staircases are witnesses to a community behind the façade.

The staircases, attics and roofs are home to the street kids. All they really want is a place to sleep, where they can consume drugs or receive a client if they make their money from prostitution. Each of them has a story of his or her own, telling of an escape from a desolate family, ignorant parents or the appalling conditions of youth detention centres.

18-year-old Nadja lives on the street. She left home because her parents were drunk all the time and did not buy any food. “I have been picked up by the police many times. But when they called my parents to bring me home,” she says with a sinister smile, “they were so off their heads that they couldn’t even get to the station.”

St Petersburg is currently busy preparing for its 300th anniversary celebrations. The omnipresent poverty on the streets, therefore, vexes the organizers and city officials. Plans to displace the homeless population to a detention centre outside the city, similar to those used during the Olympic Games in Moscow in 1980, are being discussed.

Simultaneously most of the attics in the city centre are being boarded up to drive the underdogs out of the prestigious areas. These actions are being justified by security concerns over politically motivated attacks, aggravated by the recent incidents in Moscow. Terrorism

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serves as an excuse for deferring action on social problems. Nobody knows exactly how many homeless children there

are. Western media estimate that 30-40,000 kids roam the streets of the city of 4.7 million inhabitants, while local social workers maintain that there are only around 1,500 children who are without a permanent place of residency. This stark discrepancy results from the difference in definition: can a child be called a street kid if he or she spends the majority of his or her time on the street and only once in a while returns home? Do young people in their late teens or early twenties belong in this category, too?

The Innovation organization that helps homeless children in St Petersburg puts them in two categories. First there are those children who have left their home for good and make a living on the street in groups of two or three, without a hier-archy within them. It is estimated that there are about 1,500 children of this type. The second group is considerably larger and consists of kids who spend only the warmer months on the street. They normally run away from unbearable conditions at home; the bigger the problems, the longer they stay away. In contrast to the first group, they are organized in gangs of up to 15 people, with a hierarchical structure and a strong inclination to crime.

Street kids spend their days begging or stealing in public squares, in the Metro or train stations and at markets, where they also do the odd job. More than half of them live off prostitution. Kolia is 13 years old and a male prostitute. Asked what he would he do if he had money, he replies, “I would get myself a pistol to kill myself.” HIV-AIDS and other infectious diseases are soaring and every third child that is picked up by the police has some sort of sexual disease. The majority of St Petersburg’s HIV-positive population is under the age of consent.

The overwhelming majority of street kids are drug users and the average age of a user is 13, according to a report by

Médecins du Monde. Due to its low price, sniffing glue or shoe polish, known locally as karat, is the most commonly used drug. It causes chronic bronchitis, skin irritations and encourages the spread of tuberculosis. However, access to medical help is very limited as kids cannot pay for treatment or provide a permanent address for registration.

Nadja has been a drug user since aged 13. “It makes me feel free. Then I have no fear anymore ... also I don’t feel pain when I am beaten by the police.” Last year she started taking heroin. “It relieves the soul and allows me to forget every-thing,” she says. Asked about her dreams, she replies that she has none and has tried to commit suicide a few times. “In the past I dreamt that someone would love me, but it never hap-pened. Today, I only wish I had a gun to put to my head” ❽

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The NeNeTSby Heidi bradner

ON RuSSia’S NORTheRN Yamal peNiNSula, Vera, 17, searches for her reindeer amongst the herd to hitch it to her lead sled. She knows each one by name. Vera, like every Nenets woman, drives a caravan of between four to 12 sleds tied together and pulled by a lead deer in a team of up to five. Every day during the nine months of the winter she drives this expertly packed mobile caravan containing her entire home, including children and grandparents, across some 20 kilometres of tundra to a new camp. Women are responsible for everything related to the choom, a teepee-like tent that is their home, including putting up the shelter and taking it down. Olga Serotetta and her sister build their family home, something they can do in a few minutes in good weather, hoisting a long wooden pole to raise a pelt of reindeer hides sewn together. In winter two layers of furs are hoisted over the tent, while in summer canvas is used.

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The Nenets men, led by chief brigadier Sergei Serotetta, go out on the tundra to herd the reindeer. The animals must keep moving to virgin pastures, searching for food on new tundra. Using their antlers the deer find lichen and grasses to eat beneath the winter snows. The men lasso the individual deer that are trained to pull sleds, alternating them for the daily work. The lassos, called tyanzins, are finely braided by Nenets women from the sinew of the reindeer, making them softer and more supple than normal rope in the extreme winter temperatures. “On the tundra, it is impossible to live without the skills of women,” says Sergei. Nenets children grow up alongside the reindeer, developing the skills they need to survive in this harsh environment. Boys learn to lasso deer at a young age and by their early teens are driving their own teams. Once they start their education, at boarding school hundreds of kilometres away in Yar-Sale – the main village on the Yamal Peninsula – the children may have contact with their parents only twice a year, when the migrating herds pass through their village.

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Some children return to the tundra by choice, without finishing school. Sergei’s brother, Sasha, tells of his experience studying in towns away from the Yamal and why he had to return. “I couldn’t live without the tundra. I didn’t want my children to grow up not knowing the migration. Life in the city is like a punishment for us,” he explains. “Here we have freedom. Here we have everything we need.” All that the Nenets need can be roughly covered by one word: reindeer. These animals provide them shelter, food, transport and companionship in the unforgiving conditions. The Nenets’ independence has ensured their continued survival in the face of external threats. In the 1930s under Stalin’s tyrannical rule some of the herders were tried and convicted as being enemies of the state, while others were forced into labour brigades. The majority, however, resisted, even becoming Communist Party members, and the Nenets’ nomadic way of life survived.

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Today, environmental and social changes pose the big-gest challenge to the Nenets’ way of life. The Russian national gas company, Gazprom, is drilling and building pipelines across the Peninsula, threatening the fragile eco-system and bringing with it unwanted influences. “I want my son to know the tundra and its language, to know what a reindeer is,” says Valia Serotetta. “I lived in the town, it’s terrible there. I would prefer to look out

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Under the Skin by Johann Rousselot

The word Balkan originates from the Turkish words blood and honey. The media have exploited the blood aspect, so I chose on my travels in the region to look at the part of the bee. In an attempt to discover youth, I uncovered delicate flowers emerging from a hard and brutal landscape. The identity crisis I discovered, related to the conflicts of the 1990s, comes from a process of exclusion. People were defined by external references such as religion, nationality or ethnic origin; factors which inevitably create physical and mental barriers. The young people I met looked into themselves for their identity, one based on their own bodies, their own selves. Their limits and boundaries are more the consequence of personal internal struggles.

In Sofia, Belgrade, Skopje and Sarajevo I met young people who were both individualistic and transnational, democratic but not coloured by politics; quietly demanding a more favourable social and economic climate in order to control their own destinies. However, as change is slow to come, many of them dream of leaving to a better place, a western Eldorado. In a discussion with novelist Ismaïl Kadaré, poet Alain Bosquet observed: “The European mentalities came together quickly, without apparent effort ... Mentally and spiritually Europe is unified ...” This was the spirit that defined my itinerary from Sofia to Sarajevo – the spirit of my counterparts; my “compatri-ots”.

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Le Cheval Applaudit The elephant’s trunkis for picking up pistachios:no need to bend over.The giraffe’s neckis for grazing on stars:no need to fly.The chameleon’s skin,green, blue, lavender, white,as it wishes,is for hiding from ravenous animals:no need to flee.

The turtle’s shell,is for sleeping inside,even in winter:no need for a house.The poet’s poem,is for saying all of thatand a thousand thousand thousand other things:no need to understand.

By Alain Bosquet, from Le Cheval Applaudit

© Gallimard 1977, Translation © F. J. Bergmann

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THE ULTIMATE FIGHTby Francesca yorke

york Hall, betHnal Green, is synonymous with boxing in Britain. It has hosted title bouts but is perhaps best known to fight aficionados in London’s East End as a venue that puts on scraps between good, honest local fighters. Today, York Hall’s future is in jeop-ardydue to local council demands, and arguably boxing’s mainstream appeal is on the wane. But a new contender has emerged to boost the Hall’s fortunes and revitalize the UK fight game:ultimate fighting – licensed no-holds-barred fights. Francesca Yorke documented the ultimate fight scene in London after meeting a young Brazilian fighter, Jean Silva, who invited her to his next fight. Entering a world hitherto unknown to her, Yorke went along with some trepidation to the venues and to the highly acclaimed Shootfighters Gym. She found a world not only of physical violence but also one of great camaraderie, discipline, honesty and loyalty; a world where a fighter would check with concern that his opponent is OK after the fight and one where respect and kindness for a fellow fighter is commonplace ❽

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Previous Page: Jean Silva, a fighter of great style and agility from Brazil, lays into Sammy Schiavo of the notorious Bushido Fighters from France. Promoter Dougie Truman was heard to remark that this particular fight was one of the best to be held in Britain in 2002: “Neither fighter gave an inch from start to finish.” clockwise from left: The crowd and the cage at The Millennium Brawl; roles reversed, Sammy Schiavo towers over a fallen Jean Silva; body art at Shootfighters Gym (left to right, boss Alexis, Jean Silva and Kamal Lock)

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clockwise from toP left: Flirting with danger between the rounds at the Ultimate Fight Championship at the Royal Albert Hall; the referee explains the rules to Japan’s Genki Sudo – one of the most unorthodox fighters in Mixed Martial Arts, with a creative style full of surprise moves, cartwheel guard passes and spinning back fists; Sunday Sport page three model Jenna Sweeney watches from a ringside table, her father, Dougie Truman, the promoter of Cage

Warriors, stands behind her; 20-year-old Alessio Sakara, one of Italy’s top fighters, hangs his head after losing at York Hall right: Good news from London – Jean Silva calls Brazil to tell his mum that he has won special thanks to simon van coevorden for his printing

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MOVING PICTURES

by RapHäel Gianelli-MeRiano

Since eStonia gained independence from Russia in 1991, its film and theatre industry has collapsed – of the 611 working theatres in 1991 only 12 remained in 2001 – owing to the fact that Russia provided most of the funding.

In 2001, to promote cinema in the country and to give people the opportunity to watch films in their hometowns, a handful of young directors decided to revive a 50-year-old Estonian tradition and run a Kinobuss, a travelling cinema, around the country during the summer months. The year 2001 also happened to be the 70th anniversary of the making of the first animated Estonian film. It was a good moment to start the

project and the directors set off in a temperamental Russian bus on a tour of the 15 counties. Every day they stopped in a different village to set up a temporary, open-air cinema. In the afternoons, workshops were organized to show the younger children and teenagers how to produce short films with DV cameras and animate cartoons on a computer. In the evenings films made by the novice directors were shown on the open-air screen, followed by longer Estonian feature films running late into the night. The light reflecting from the screen would illuminate the faces of the audience and their makeshift auditorium amongst the trees.

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Each day a new town or village would give the Kinobuss team a fresh experience of Estonian hospitality, with everybody getting involved: helping to set up the tents and the screens or offering comfortable overnight accommodation, good food and bottles of beer. The Kinobuss brought a sense of celebration with it; often, while the children shifted tables and chairs for t h e workshops, the villagers would play their own music to enliven the afternoon.

The Kinobuss project is a story of encounters and experiences with unfamiliar cultures and technologies, and the opening of these new fields to today’s generation and for years to come. The popularity of the animation and fiction film workshops – some nights almost 500 people of all ages came to

the screening – was more than the team expected. The success of this first outing with the Kinobuss was repeated in 2002 when a new group of young directors, in association with members of the Estonian television industry, took the bus back on the road. Once again they brought film to the more remote areas of the country as a way to celebrate – in 2002 – the 90th anniversary of Estonian film making ❽

Special thanks to the Kinobuss Team, Estonian Institut in Tallinn and Paris, Photo Wallah, Mikk Rand, Anneli Kavald-Gori, Heiki Trolla and Elsa Carlberg for the support they have brought to this project.

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As recent weAther pAtterns testify, the UK is under a water-borne threat. The United Kingdom Climates Impact Programme (UKCIP) has predicted a 34-centimetre sea-level rise by 2050, and, according to studies, over 25% of the land area between the Humber and Thames estuaries lies below the flood-risk level. On England’s east coast, a large proportion of the existing coastal-defence works will approach the end of their operating lives over the next decade, and significant uncertainties remain as to the most appropriate management strategies to adopt in the future. The Environment Agency states that £1.3 billion will need to be spent to renovate existing sea and flood-defence works over the next 10 years. Man-made defences, predominantly in the form of sea walls, cover approximately 860 kilometres (23%) of the English coast. The defences range from simple earth embankments through to towering concrete walls and even more complex structures involving wave-return formations and granite armouring. Jonathan Olley chose to photograph England’s endangered coastline, to explore the contradictions involved in engineering warfare against the sea, as well as to record the changing urban and rural landscape. His photo story was one of three selected from over 50 proposals to be awarded documentary commissions by the Picture House Centre for Photography and supported by the Arts Council through East Midlands Arts and ei8ht magazine ❽­

King cnUt’s isLAnD by JonAthAn oLLey

the exhibition “All for a good cause”, featuring the work of Jenny Matthews, Jonathan olley and tina stallard, will be shown at the picture house centre, Leicester, england, from 25th April to 22nd August, before starting on a national tour.

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For most oF his career, John morris was a picture editor. He was Life’s London presence in the Second World War, picture edi-tor at Ladies’ Home Journal, the first executive editor o f Magnum, picture editor for both the Washington Post and the New York Times, and a correspondent and editor for National Geographic. It looks like steady work for a street-wise executive. Morris’ interests can be seen, for example, in the index entry on “photographers”. “Photographers as heroes” are mentioned only twice but “photographers – pay for” has so many entries they are piled five lines deep. The caption to the illustrated example of Robert Capa’s 16-page picture story on “Women and children in Soviet Russia” for Ladies’ Home Journal (1948) reveals that Morris paid Capa $20,000, whereas John Steinbeck got only $3,000 for his words. Organizing the business was one thing Morris did very well.Numerous photographers are listed in the index. Most entries are brief but some are three to four lines deep. A few examples will suggest the range of people Morris knew well: Werner Bischof, Cornell Capa, Henri Cartier-Bresson, David “Chim” Seymour. W. Eugene Smith and Edward Steichen. Robert Capa was by far the closest to Morris, and his entry occupies a full 18 lines. The stories about Capa and Morris’ concern for his reputation over the one-time controversial image of the “Dying Spanish Soldier” (1936) demon-strate the depth of their friendship. Morris is very good at bringing personal relationships and even acquaintances to life.The book is full of references to how photographers feel about their work. For instance, Don McCullin is quoted as saying, “I try to eradicate the past.” The relation of photographs to the past remains a vexed question for photojournalists, picture editors and their audiences. The normal practice of editing allows “hot news” photographs to be printed, often including pictures of atrocities, but there is usually no justification for reproducing old news or old pictures in newspapers. To that extent the past is eradicated daily in line with newsroom practice. If the picture editor does not immediately select the image as “hot news” it enters a kind of limbo, a back-lot of old files,

where it often remains.Of course, the existence of photographs means that the past is represented. But the question remains, “Who needs to remember what version of the past and for what purpose?” There is no simple answer to the problem because the act of remembrance, even via photographs, is not necessarily a benign or rational act. On the contrary, recollection can keep old wounds open. Morris quotes Eddie Adams’ response to questions about his Pulitzer prize-winning photograph of the execution of a Vietcong prisoner by Saigon’s chief of police in 1968: “I don’t wanna talk about it.” This reaction is understandable as a response to a personal trauma and also to the suffering of unknown strangers. Morris recognizes the complexities of using photographs to recall the immediate or more distant past, and he explores the issues with a light touch. At the same time, he is too much of an optimistic humanist to wish that there were no photographs of horrors at all. Morris was a friend of Steichen’s, and mentions the latter’s exhibition “The Family of Man” (1955). Both men believed (in Morris’s words) that photojournalism “can be directed at introducing one man (sic) to another with respect and compassion.” For Morris this goes deeper. Photojournalism shows or represents nothing less than the truth and so “untruth lies in things unphotographed”.Morris has strong opinions on why things go “unphotographed”. In his view, the news industry relies more on diversion and entertainment than hard fact; censorship abounds; the “enormous duplication” of images produces convergence around a narrow set of types. All this comprises a society of “secrecy, and indifference, superstition and stupidity”. In the 1940s, following moves in the USA to create a Committee to Frame a World Constitution, Morris began to believe that “people are capable of rationally solving the problems of war and poverty, civil rights and public health.” Clearly, in his view photojournalism is integral to such rationalism. Attractive though it once was, and as Morris himself suspects, such rationalism cannot survive in the current climate of overheating messianic nationalism ❽ John

Taylor

Morris, John G. Get the Picture:

A Personal History of Photojournalism

With a new foreword by William h. Mcneill

and afterword by the author. 344 pp., 112

Fuji by Chris Steele-Perkins132 photographs, 136 pp., £27, Umbrage Editions 2001, www.umbragebooks.comISBN 1-884167-12-8The fumes, the bright lights and the bustling scenes all bid to divert your attention, yet like a magnet the eye is always drawn to the mighty Fuji. Occasionally it may take some searching; a reflection in a travel agent’s window or the glimpse of the distant peak through the branches of a tree. Whether it it there or not, all the images convey the mountain’s omnipresence.

Grafters by Colin Jones81 tritone and varnish illustrations, 144 pp., £35, Phaidon Press 2002, www.phaidon.com ISBN 0-7148-4253-2It is the men toiling with dignity and forbearance in coal that move us most in this book. These men refuse to be humbled, often looking Jones in the eye when being photographed, their self-respect, despite the physical exhaustion at the end of another shift, intact. They, most of all, encapsulate the book’s quiet dignity,

recalling a people and a time with a poignant yet unsentimental air.

The Heart of Kashmir by Kash Gabriele Torsello111 b&w photographs, 192 pp., £29, Kash GT 2002, www.kashgt.co.uk ISBN 0-9542245 –0-7Self-published by photojournalist Kash, this is a beautifully presented and printed book that represents seven years of his life photo-graphing the divided nation of Kashmir. Compassionate and objective, Kash captures the small pleasures of daily life amidst the pains wrought by a conflict foreshadowed by a military presence that features large in the background of his lens. For a full-length review of all these books, visit: www.foto8.com/reviews/ EXHIBITIONS: FEB-May 2003 Julia Margaret CameronAn exhibition of 120 prints by the 19th century photographer, widely acclaimed as being ahead of her time. Venue: National Portrait Gallery, St Martin’s Place, London WC2H 0HE, UK. 6 Feb. – 18 May Magalie Delporte, Seeing Sport Without SightIndividual stories that illustrate the world of visually

rEVIEWS

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impaired people through sport.Venue: The Spitz Gallery – element 3, 109 Commercial Street, Old Spitalfields Market, London E1 6BG. UKRuns: 4 Feb. – 26 Feb.

David Goldblatt – 51 yearsPhotographs that document the social and political landscape of South Africa since 1948.Venue: Modern art Oxford, 30 Pembroke Street, Oxford OX1 1BP. UKRuns: 1 Feb. – 30 March

Finn ManfordLush seascapes to boardwalk architecture to forgotten western American outposts.Venue: Focus Gallery, 3+4 Percy Street, London W1, UK Runs: 23 Jan. – 8 March

Rachel Morton, One Island Many FaithsAn exhibition exploring the experience of different religions in Britain.Venue: Saint Mungo Museum of Religious Life and art, 2 Castle Street, Glasgow G4 0RH. UKRuns: until 27 april

Lennart Nilsson, Photographs 1942-2002Six decades of portrait and documentary images.Venue: Kulturhuset, Sergels torg, 103 27 Stockholm, SWEDEN. Tel: +46 (0)8 5083 1508Runs: until 20 april

Evelyn Richter: a retrospective – curated by astrid IhleEvelyn Richter’s influential work is the subject of her first US retrospective.Venue: Leica Gallery, 670 Broadway, New york Ny 10012, USa. Tel: 1 212 777 3051Runs: 31 Jan. – 1 March

Sebastião Salgado, ExodusGlobal mass migration from 1993-1999.

Venue: Barbican art Gallery, Barbican Centre, Silk Street, London EC2 8DS. UKRuns: 13 Feb. – 1 June

Chris Steele Perkins, The TedsMagnum photographer Chris Steele Perkins captures 1970s Teddy Boys in England.Venue: 292 at Howard Greenberg Gallery, 120 Wooster Street, New york 10012, USa. Tel: 01 212 334 0010 Runs: 31 Jan. – 15 March

Paul StrandA posthumous retrospective of the legendary photographer.Venue: Howard Greenberg Gallery, 120 Wooster St, New york Ny 10012, USa. Tel: 01 212 334 0010Runs: 31 Jan. – 15 March

alexey Titarenko, Saint PetersbourgIn St Petersburg’s tercentenary Alexey Titarenko captures the mood of the city.Venue: Camera Obscura, 12 rue Ernest Cresson, 75014 Paris, FRaNCE. Tel: +33 1 4545 6708Runs: 24 Jan. – 15 March

Lars Tunbjörk, Home et OfficeA surrealist colour take on the home and office by this Swedish photographer.Venue: 2, Rue Jules Cousin, 75004 Paris, FRaNCE. Tel: +33 01 53 01 85 81 Runs: until 15 Feb.

Diana Walker: Public & Private 20 years photographing the presidency – images of six US presidential administrations.Venue: Leica Gallery, 670 Broadway, New york Ny 10012, USa. Tel: 1 212 777 3051Runs: 7 March – 5 april

Bradford Washburn, From the EdgeFirst-ever UK exhibition of

92-year-old Bradford Washburn’s mountain photog-raphy.Venue: Michael Hoppen Gallery, 3 Jubilee Place, London SW3 3TD, UKRuns: 13 Feb. – 30 april

Garry Winogrand 1964Iconic images of 1960s America in the aftermath of Kennedy’s assassination.Venue: Galerie Thomas Zander, Schonhauser Strasse 8, D-50968 Koln. GERMaNy. Tel: +49 221 934 8856Runs: from 24 Jan. Liquid Light Four artists from the East Midlands and Jamaica examine each other’s cultures through photography. Venue: Picture House Centre for Photography, 3rd Floor International House, 125 Granby Street, Leicester LE1 6FD, UKRuns: 18 March – 18 april

Taking a Positive View100 best photographs, from over 400 submissions, form the UK’s first exhibition of photography by homeless people.Venue: Proud Central, 5 Buckingham Street, London, WC2N, UK Runs: 19 Feb. – 2 March

World Press Photo 2003The prestigious exhibition of the best press photos from 2002. Venue: Oude Kerk, Oudekerksplein 23, amsterdam, NETHERLaNDS www.worldpressphoto.nl Runs: 28 april – 23 June

ei8ht welcomes exhibition listings. Please send news releases via email to: listings@foto8.com or post to: Listings at foto8, 18 Great Portland Street, London W1W 8QP. UK Every effort has been made to ensure that all information is correct at time of going to press. ei8ht and foto8 Ltd accept no responsibility for any changes to dates of exhibitions.

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Picture House Centre for Photographypractical centre supporting photographers and the broader arts community

providing commissions, exhibition opportunities, facilities, trainingwelcomes photographers able to offer lectures, workshops and demonstrations

Internat ional House, 3rd Floor,125 Granby Street, Leicester LE1 6FD T - 0 1 1 6 2 5 5 5 2 8 2 E - p h o t o @ p i c h o u s e . d e m o n . c o . u k

© Jonathan Olley

Picture House in collaboration with ei8htpresents commissioned documentary exhibitions ‘All in a good cause’ by Jonathan Olley, Jenny Matthews and Tina Stallard 25/04/03 - 22/08/03

Award winning photography at the Independent Photographers’ Group. IPG represents

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Zed NelsonNigel ParryJohn ReardonTom StoddartAlastair ThainVeronique VialFelicia Webb

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www.foto8.comThe award-winning web journal continues with an update of new online feature stories as well as an expanded area for ei8ht magazine, where you will find subscription services and a new preview section that showcases each issue of the printed magazine. Also online we expand our special feature, “Israel-Palestine”, with new stories submitted from our readers about their experiences and impressions from the region.

PArTner websITes:www.eyeloveit.com, www.photodocument.pl, www.Photographer.ru, www.Red-top.com (new this month: Gautier Deblonde, on-set photos from Lynne ramsay’s film morvern callar; Jo broughton, Virgins; Virginia woods-Jack, Adolescence; Matthew somorjay-roc, my Grandmother’s House) www.Reportage.org, www.Revue.com (new this quarter: ernesto bazan, the Special Period in cuba; Laure Vasconi, the cities of cinema; Dinu Mendrea, Graffiti from Varanasi)

AnnounceMenTs:tALES mAGAZINE is looking for creative responses to the story the Emperor’s New clothes. To be involved with this unique magazine and for more information, go to: www.talesmagazine.co.uk, quoting reference “foto8”

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ei8ht Issn 1476-6817 is published by foto8 Ltd, 18 Great Portland street, London w1w 8QP uK T: +44 (0)20 7636 0399 F: +44 (0)20 7636 8888 E: info@foto8.com W: www.foto8.com The views expressed in this magazine are not necessarily those of ei8ht or foto8 Ltd. Please address all letters to the editor at the above address. contributors should email submit@foto8.com with their story proposals.

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