Vol.2 No.1

ei8htphotojournalism

Dear Reader,

There are a number of great advantages to being a quarterly magazine, not least the degree of hindsight it affords

an editor. When we began laying out this issue in March, the world’s gaze was firmly fixed on events in Iraq. At the

time it seemed that having to wait two months for our new edition would put us at a disadvantage: how could we

stay relevant to the overriding topic of the day when the story and our understanding of it were changing so rapidly?

Instead the quarterly timeline of this magazine grants us the opportunity to explore our purpose carefully and subsequently to

publish an issue that I feel presents stories by photographers who have a clear intent and the vision to realise it.

By contrast the “War on Iraq” turned out not to be a war. Rather, as people around the world have argued (both on the streets

and in diplomatic circles), it became a spectacle of two armies marauding across 300 miles of desert to Baghdad to lay claim to

an illusive moral victory – freedom over tyranny. Much, but not all, of the imagery produced in Iraq over the past months has

served little more than to project a narrow view of a deadly desert trek. We have been shown what it is like to be a soldier with

an unrivalled array of firepower at your finger tips, but have these photographs actually informed us about the conflict and its

wider consequences? It seems that the role of the front-line photographer has been mostly co-opted by the military and

government to create images designed to make the public gasp in admiration at awful and shocking displays of strength.

This issue of ei8ht not only tells new and previously unseen stories but also shows the power and relevancy of photojournalism

as a tool for sincere and profound communication. There is no doubt that making a story on drugs and gang violence in Cape

Town is every bit as dangerous or heroic as photographing war, yet it is the intimacy of the images we show here that allows us

to see beyond the story’s mere physical logistics and instead to reflect upon, and gain an understanding of, the lives depicted.

Similarly Birdmen, Parents Again and the other stories in this issue show us how individuals have employed photography as an

effective tool for telling their story and not as the end in itself. It is one thing to have Baghdad as your goal, but quite another to

have an idea of what to do, or what it means, when you get there.

JON LEVY

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EDITOR: Jon Levy ASSISTANT EDITOR: Phil Lee CONTRIBUTING EDITORS: PHOTO Sophie Batterbury TEXT James Loader ART DIRECTION: Grant Scott PUBLISHER: Gordon Miller EUROPEAN ASSOCIATE: Arnaud Blanchard INTERN: Stephanie WegernastREPROGRAPHICS: Graphic Facilities PRINTER: Fox Print Services

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EDITOR’SLETTER

COVER

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David Lurie was born in Cape Town, South Africa, and studied and taught at UCT before going to theLondon School of Economics. Self-taught in photography, David began producing documentary projects fulltime in 1995 following the publication of his book Life in the Liberated Zone (Cornerhouse Books, UK). Published worldwide, his work has won several awards, including ‘Pictures of the Year’ and Nikon [UK]awards. Cape Town Fringe: Manenberg Avenue is Where it’s Happening is to be published by Double StoreyBooks, SA, later this year. David is represented by Katz Pictures.TO PURCHASE A PRINT FROM DAVID LURIE OF THIS COVER IMAGE PLEASE CALL +44 (0)20 7636 0399Katz aims to assist young photographers through regular meetings of the “Forum”, which couples the creativeskills of the individual with the agency's editorial experience, market awareness and sales networks. For more details editors and photographers should contact: frede@katzpictures.com | www.katzpictures.com

Brian Fitzgerald is the chief photographer at theYakima Herald-Republic, Washington State, USA. A graduate of Arizona State University, Brian hasbeen a photographer and an editor at several newspapers. In addition to the daily demands ofpress photography, Brian passionately pursues hismain interest, producing compelling documentary photography projects.Horst A Friedrichs studied photography in Munich and soon after began freelancing for magazines in Switzerland, Germany and the UK. His first bookTroubadoure Allahs was published in 1999. Nowbased in London, he devotes much of his time to

new book projects and is represented by KatzPictures. www.photohorst.com | www.katzpictures.comColin Jacobson has worked as a picture editor for,amongst others, The Observer Magazine and TheIndependent Magazine. He has twice been the Chairof World Press Photo and is currently an honoraryresearch fellow at Cardiff University School ofJournalism, Media and Cultural Studies. Colin writeswidely on contemporary photojournalism and, as thefounder of Reportage in the 1990s, continues to editthe online version – www.reportage.org Chris Steele-Perkins is based in London and Tokyo,and is a member of the esteemed co-operative,

Magnum Photos. He is the author of several booksand numerous exhibitions have featured his workover the past four decades. Chris is currently workingon new projects in Japan and Durham and a book of personal work entitled Echoes will be published byTrolley in autumn 2003. www.magnumphotos.comZak Waters was born and raised in NortheastEngland, where he worked until he moved to Londonin the early 1990s. He has since photographed for international charities, including Action AgainstHunger (UK), The Guardian and Sunday Times amongothers. Zak continues to add to his Birdmen projectand is represented by AgentKan in Amsterdam.

CONTRIBUTORBIOGRAPHIES

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Editor’s letter p.2

Contributors p.2

Announcements p.44

Exhibitions p.48

Agencies p.50

Photographers p.53

Resources p.54

CAPE TOWN FRINGEDavid Lurie reportsfrom the mean streetsof Manenberg on acommunity uprootedfrom their formerhome. Moved to anew housing complextheir lives are embittered by drugsand violence p.4

THE HEART OFTHE MATTERColin Jacobson

reviews the work ofwar photographerLarry Burrows. Avisual depth inBurrows’ imagesexposes the limits ofphoto-reportage, 40years on p.14

DESERT ANGELSAs he travels throughthe mystical landbetween Venezuelaand Colombia, HorstA Friedrich’s images

reflect the magicalstories he heardalong the way p.20

WALKING TOKYOChris Steele-Perkins’explores the city fromday to night in a single spread p.28

BIRDMEN Zak Waters recordsthe lives and loves ofpigeon racers. Hisstory charts the

decline of the sportin the UK and docu-ments a community’schanging face p.30

PARENTS AGAINBrian Fitzgerald findsretirement is elusivefor a growing number of Americangrandparents.Following one family,he reveals theirexperience of fostering and raising

their own grandchildren p.38

BABY I WANTYOU SOIn association with the Picture HouseGallery, Leicester, ei8ht presents TinaStallard’s project onIVF treatment p.45

REVIEWSCarl De Keyzer’sZona p.46

CONTENTS:JUNE 2003

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CAPE TOWN FRINGE

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BY DAVID LURIE

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Manenberg was established as a ‘coloured township’ following the 1960s and 1970s Groups Areas

Act, which forced removals from District Six and other multiracial parts of Cape Town. The design

of townships such as Manenberg was based on Ebenezer Howard’s Garden City model (originally

conceived for Victorian England’s working-class families), with blocks of flats, terraced and semi-

detached houses, and a standardised architecture.

Situated 15 kilometres from Cape Town’s city centre, Manenberg is isolated from adjacent

‘black’ and ‘coloured’ townships by means of highways, railway lines and buffer strips. South

Africa’s apartheid planners conceived their plans and urban designs to create social order

and racial harmony by means of zoning of land use and the segregation of different

social groups. Instead, they created a Frankenstein’s monster that remains firmly intact in the

new South Africa.

‘Black’ and ‘coloured’ working class people remain trapped in crime-infested ghettoes of high

unemployment and extreme poverty, located at a considerable distance from the main centres of

commerce, tourism and industry. Living conditions are appalling and most life takes place in the

streets where people have little or no privacy.

Known for its gang violence and for being the headquarters of the Hard Livings gang, Manenberg

features regularly in the media with almost daily reports of violence and gang killings. The area is

also associated with the highly militaristic prison gangs such as the “28s” and “26s” that have,

transformed themselves into sophisticated corporate structures connected to multinational drug

cartels and crime syndicates. Drug trafficking, alcohol sales, gunrunning, taxis and sex work are the

major sources of revenue of the area. With its extremely high levels of unemployment and

poverty, Manenberg has become a ripe recruiting ground for drug lords, dealers and hitmen.

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Oh! Don’t talk to me about that, please don’t talk to me. I will cry. I will cry all over again. There’s when the trouble started. When they chuck us out like that. When they chucked us out of Cape Town. My whole life became changed! There was change. Not just in me, but in all the people. What they took away they can never give it back to us again[weeps]. Oh! I want to cry so much, all over again ... I cannot explain how it was when I moved out of Cape Townand I came to Manenberg. In those days I didn’t know why they chuck us out. What did we do, that they chuck us out like this? We wasn’t murderers, we wasn’t robbers, like today. Now people are corrupt. They can really be barbarians. They murder one another and that is what they wanted ... It was wrong what the white people did. These people didwrong. They had everything, everything that a person’s heartyearns for. And we had nothing but we were satisfied. They broke us up. They broke up the community. They took ourhappiness from us. The day they threw us out of Cape Town,that was my whole life tumbling down. I don’t know how my life continued. I couldn’t see my life in this raw township far away from the family. All the neighbours were strangers. That was the hardest part of my life, believe me ❽

MRS G J, FORMER RESIDENT OF DISTRICT SIX, NOW OF MANENBERG

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Soldiers of the3rd Battalion, 9thMarine Regiment,one of the firstcombat units toland in Vietnam© 2002 Larry BurrowsCollection

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MILLIONS OF WORDS and thousands of photographs haveattempted to make sense of the Vietnam War, but the clarity of visionand strength of purpose that Larry Burrows displayed in his workgive the recently published retrospective Vietnam a profound sense ofauthenticity. This book could not be more timely, given the events inIraq and the deliberately confused versions of reality that both thepublic and the journalists covering the events have been allowed toreceive.

Larry Burrows arrived in Vietnam in 1962, at a time when theAmerican presence was relatively minimal and the military wereoperating as “advisers”. He covered the war as much as he could forthe next nine years, charting the relentless increase in US involve-ment. He wanted to see the end of the war and was desperate to photograph the peace but sadly died, aged 44, in a helicopter thatwas shot down on the Laos-Vietnam border in 1971.

Burrows was working during the heyday of the picture magazineand was able to stay for long periods in Vietnam because he was a staffphotographer for Life magazine. He had the luxury of time, unlikemany of his colleagues who were on more instant deadlines, workingfor the wire services. As David Halberstam notes in his introduction,“You could hang out with the troops and get to know them; andsooner or later, if you did not find the war, then the war would findyou.” Unlike today’s photographers working in Iraq, he was notexpected to produce images for daily consumption or spend valuabletime transmitting pictures by satellite phone. Nor did he live in anera of growing distrust of the nature of press photography and

increasing familiarity with the subject matter of photojournalism.His first major picture essay on Vietnam appeared in 1963, a massive14-page story with the double-edged title, “We Wade Deeper intoJungle War”. This made him a household name in America but,more significantly, first opened up some of the realities of what wasgoing on in Vietnam to the American public.

What is it that makes Burrows’ work seem so fresh and meaningful today, over 30 years after he was killed in Vietnam?Undoubtedly, one overwhelming factor was his closeness and this isall about access. Journalists and photographers seemed to be able tohop about almost at will during that war, providing they had thecourage and the contacts. The idea of being “embedded” with themilitary was unthinkable. Mrs Thatcher and the British Ministry ofDefence put an end to all that in the Falklands War and the lessonwas well learnt by the time of the first Gulf War. The recent conflictin Iraq offered the illusion of access to hundreds of journalists, butmilitary control or self-censorship has effectively removed the possibility of Burrows’ style of visual reporting. Few of the imagesfrom Iraq seen so far have gone beyond the descriptive.

Perhaps this has much to do with how photographers see theirfunction. Burrows was working at a time when TV was dependent oncumbersome technology with film crews, without the current mobil-ity and flexibility for instant transmission. TV stations had to waitfor film to be transported, processed and edited. The sense of beingfrontline photo reporters was therefore much stronger during theVietnam War. Photojournalists could and did cover situations which

THE HEART OF THE MATTER

BY COLIN JACOBSON

A Vietnamese soldier standsguard overVietcong prisoners and dead, capturedweapons andflags as two US advisers look on© Time Inc2002

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did not just repeat or reinforce what had already been seen on TV butwhich told the audience something new and moved the story on.Burrows was able to act as a mediator or interpreter, making sense ofa confused and confusing situation which was far away both physi-cally and culturally from the perception of the Western world. Hispicture stories seemed to cut through the military complications andfoggy propaganda.

Burrows saw himself as a storyteller. He researched his assignmentsmeticulously and always knew what it was he wanted to photographand why. He seemed to think and work in a picture-essay mode sothat his work was not just a series of individual images but was easily publishable as a coherent and convincing sequence. Beyond hisundeniable courage and persistence, he had a strong intellectual control over his subject matter. He understood what was happeningin the war and sensed very early on that America was getting intosomething that could spiral out of control. He was constantly alert tosignificant changes in policy and direction in the conduct of the war.

Burrows seems both modest and discreet in his photographicexpectations. Many of his images are relatively straightforward, without any stylistic devices, showing things as he found them. Atthe same time, there is an overwhelming sense that both he (and we)are inside the story, getting a genuine sense of what it feels like to bethere. He was certainly famous in his own lifetime because of his stories in Life but he did not parade his ego through his work. Therewas no celebrity circuit of leading photographers trying to win inter-national competitions as part of their career maintenance.

Much of his best work was in colour, which comes as a bit of a surprise since we have come to feel that Vietnam was a black andwhite war. Burrows wrote a note to his editors: “I am very happy withthe equipment I have. All I need is time and patience to use it to thefullest degree, plus God on my side to help with the lighting problems – to move the sun and the moon and the stars to the position of my choice.” Perhaps this illustrates better than anythingthe gulf between his approach and attitudes and those of contemporary war photographers, armed with sophisticated digitalequipment and image-transmitting mobiles but dominated by theneed for speed to meet deadlines.

At one level, this book is an elegy to all those who had the misfor-tune to be caught up in that bizarre and misunderstood conflict. Thebook finishes with five full-page uncaptioned portraits of US soldierslying in a sleep of exhaustion. They look horribly young and vulnerable and we are left wondering how many of them ever madeit home. At the same time, the book reinforces the sense that

Burrows was the last of a breed. Life itself was slowly losing itsimpact and influence as network television became the primarysource of visual news communication. Vietnam has frequently beendescribed as the first television war, or “the living-room war”.

What is evident from the Iraq War is the huge shift in stylisticsolutions to journalistic storytelling. Today, talented photojournalistsface a very different visual climate. Publications want images that are“strong” and which tell the story in one picture. The pressures are ontoday’s photojournalists to produce “stunning”, “shocking” even“award-winning” pictures all the time and in every situation. Thismay help to explain the fate of Brian Walski, fired from the LA Timesfor merging two adjacent but weak images from Iraq and transmitting a more powerful constructed version. Straightforwardreportage, in which not every picture can be a masterpiece and someare just informative, is a disappearing species. At the same time, ona cultural level, readers are bombarded with a relentless array of visual imagery and photographers have to overcome a wall of indifference built up by saturation coverage of global events.

The Vietnam War has a cultural significance for the West that hasprovided countless writers and filmmakers with their source material. Burrows’ work makes sense to us and touches us because wefeel we know where we are with it, we can fill in the gaps. In spite ofsaturation media coverage, recent history is often too close for perceptive appraisal and photojournalists have to work hard toengage us and persuade us to want to go beyond the facts. A contemporary market for picture essays scarcely exists and it isdoubtful that any of the many photographers covering the war in Iraqwill have been able to produce a story as pointed and effective asBurrows’ “One ride with Yankee Papa 13”. “In retrospect, he was asmuch historian as photographer and artist. Because of his work, generations born long after he died will be able to witness and understand and feel the terrible events he recorded,” writes DavidHalberstam. For sheer immediacy and apocalyptic significance, thebattle on Hill 400 and Mutter Ridge in October 1966 can surelynever have been rivalled in the history of war photography. Burrowsleft us an extraordinarily coherent picture of the changing pattern ofevents in Vietnam and that is made possible because of his searingintelligence and his ability to follow focussed stories, taking thembeyond the immediate narrative to the heart of the matter ❽

Larry Burrows Vietnam, with an introduction by David Halberstam, 244 pp hardcover; Jonathan Cape (UK), £35.00 (Knopf, USA); ISBN: 0-375-4110-X. For details of reader offer, see foto8 announcements.

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Lance CorporalJames C. Farleyshouts to his gunner, WayneHoilien: “My gun isjammed. Coveryour side. I’ll helpthese guys.” © 2002 Larry BurrowsCollection

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DESERT ANGELS

BY HORST A FRIEDRICHSei8ht 21

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A VAST DESERT STRETCHES from Venezuela to the Colombianborder. It is composed of endless blue skies, dense cactus groves andbarren mountain slopes.On our trip through this enchanted land, we encountered people whowere reminiscent of characters from the novel, One Hundred Years of Solitude.In Colombia we met the Wayuu, one of the last desert Indian people. We spoke with a shaman and spent days listening to Doña Ruperta,a 114-year-old storyteller. In the distance was a light in contrast with the sparse landscape. As we neared it defined itself as a woman in a white dress standing before a clay hut. She sat there on a rickety old stool. Her midnight blue eyes travelledtowards the horizon, chasing clouds the size of continents in a vastblue sky which stretched like a circus tent over the desertscape. We followed Doña Ruperta into the kitchen. Sacred pictures hung onthe wall, discoloured by smoke that emanated from the fireplace, an aromatic mixture of coffee and cinnamon. Yellow-orange sunlight from faraway over the dry desert groundrolled into the kitchen. We sat down and shared goat’s cheese and coffee. Doña Rupertabegan to tell the stories.

Translated from the German by Chris Ammermann

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HER NAME WAS PETRA COTES. She had arrived in Macondo in the middle of the war with a chance husband who lived off raffles, andwhen the man died she kept up the business. She was a clean young mulatto woman with yellow almond-shaped eyes that gave her face theferocity of a panther, but she had a generous heart and a magnificent vocation for love. When Ursula realized that José Arcadio Segundo wasa cockfight man and that Aureliano Segundo played the accordion at his concubine’s noisy parties, she thought she would go mad with thecombination. It was as if the defects of the family and none of the virtues had been concentrated in both. Then she decided that no one againwould be called Aureliano or José Arcadio. Yet when Aureliano Segundo had his first son she did not dare go against his will.

“All right,” Ursula said, “but on one condition: I will bring him up.”Although she was already a hundred years old and on the point of going blind from cataracts, she still had her physical dynamism, her

integrity of character, and her mental balance intact. No one would be better able than she to shape the virtuous man who would restore theprestige of the family, a man who would never have heard talk of war, fighting cocks, bad women, or wild undertakings, four calamities that,according to what Ursula thought, had determined the downfall of their line. “This one will be a priest,” she promised solemnly. “And ifGod gives me life he’ll be Pope someday.” They all laughed when they heard her, not only in the bedroom but all through the house, whereAureliano Segundo’s rowdy friends were gathered. The war, relegated to the attic of bad memories, was momentarily recalled with the popping of champagne bottles.

“To the health of the Pope,” Aureliano Segundo toasted.The guests toasted in a chorus. Then the man of the house played the accordion, fireworks were set off, and drums celebrated the event

throughout the town ❽

One Hundred Years of Solitude by Gabriel García Márquez. © Penguin Books Ltd 1973

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WALKING TOKYO BY CHRIS STEELE-PERKINS

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These photographs are about walking in Tokyo. The presentation is as simple as I can make it,

without trying to prioritize one image over another. They are taken from the story of one imaginary day.

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BIRDMENBY ZAK WATERS

WHEN I WAS A YOUNG LAD, most of my friends’ fathers had garden allotments, wherethey grew vegetables and flowers for annual prize shows. A number of them also had what wecalled sheds, where they would keep their pigeons. For many years I had no idea of the significance of the swarms of birds flying in sequence, looping the loop in the sky and the complexities of the birdmen’s passion.

I started working on Birdmen around a year ago, travelling the country meeting birdmenand telling them my plans to produce a documentary. They all welcomed the project with openarms and many joked that they were a dying breed, which is literally the case. Within a matter of two years, from an all-time high in 1988 of over 130,000 members and around 2,000separate clubs, the number of registered racers fell to under 60,000.

The most significant factor in the decline was the winding-down and eventual collapse ofmajor industry, including coal mining, shipyards and steel works. Whole communities,

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particularly in the north of England, were affected by enormous economic and social difficulties. Skilled men, whose families for generations had been employed, were faced with redundancy, job lay-offs and the prospect of lower paid non-skilled work. This led to highunemployment, debt and relocations not just within the UK, butalso around the world.

Communities were in turmoil and so were the birdmen. I was awitness to the economic decline: I watched throughout my childhoodand early teens people stripped of their identities and dignity as theirworld was torn apart by the economic down-turn that took awayeverything. I also witnessed men killing their birds in depression,anger and frustration because they had no money to keep them andno one else had the money to buy them.

Over the last ten years membership in the UK has dropped againto around 46,000. The men find it increasingly difficult to attractnew members, not just from the outside, but also from within theirown families; their sons and daughters are not interested in takingpart, finding themselves with wider horizons. Ironically, the sport’s popularity worldwide has rocketed. In the USA there are many big-purse races with prize money reaching $50,000, and buyers from theUAE are frequent visitors to England and mainland Europe, wherebirds can be auctioned for as much as £100,000.

In the early 1900s, pigeon racing became established in England

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On race day the men gather at their clubs with their chosen birds (above &

left top). One by one each bird is given a number that is entered by hand

into a log-book. Once all the birds have been registered, race fees paid to

the club treasurer, beers bought and the birds placed in their baskets, they

are picked up by the pigeon transporters and driven to one of a number of

sites in the UK or Europe. Transporters (left bottom) in Dieppe, France, wait

for a break in the weather to liberate the birds and start the race

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strongly within working communities, especially in the north ofEngland. The men used to hammer lofts out of old tea crates inwhich to house their pigeons. Many wanted their birds to have thefresh air they never had, being down the face of a colliery for 12-hourshifts at a time, and coming straight from the colliery they wouldwatch their birds fly until the sun set in the sky.

They wanted their pigeons to fly because they themselves nevercould; they wanted their pigeons to come back because they wantedto. Free will is important, although as a reward for coming back thecock always gets half an hour with his hen.

Pigeon racing is all about love: for the men it is the love of thesport and for the pigeons the love of each other. Two pigeons pairedwill mate with each other for life, which is why, when a bird isreleased in a race 700 miles away, it will compete to be back besideits partner within ten hours. The men’s success in pairing compati-ble birds, as well as keeping them healthy, is key to a successful racing pigeon.

The birdmen are the last of a working class breed, through whomyou can chart not only the decline of industry in the UK but also achange in the life of a community that is becoming lost forever ❽

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Once the birds have been liberated (previous pages) messages are relayed

to the club and the birdmen’s wait begins. Anxious hours are passed

checking the horizon and mobile phones for news of their or other racers’

birds. On the return of their pigeon, the men will wave a “high flyer”,

usually a white bird (above), to entice their pigeon to enter the loft. Once

inside its number ring is taken and its time logged. Then it’s down to the pub

(left top) for a beer, chat and a bit of gloating for the winners

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PARENTS AGAINBY BRIAN FITZGERALD

MARGARET HORN STILL REMEMBERS the night when, sevenyears ago, she and her husband Peter made the decision that alteredtheir lives forever.

The native New Yorkers had two children, the youngest a junior inhigh school, and were looking forward to Peter’s retirement from theNavy after a 27-year career as an officer.

The future was bright and full of promise. “We thought we couldgo on vacation and do our own thing,” said Margaret, 51. “Then wegot Kimmy.”

The Horns became grandparents for the first time when Kimberlywas born on 3rd January 1995 to Tara, 30, their daughter. Little“Kimmy” and her mother spent the first few weeks with the Hornsbecause the paediatrician was afraid that conditions at Tara’s place – no heat, and long-term drug use by Tara and her live-inboyfriend – would be bad for the baby.

Tara disappeared in late January, just weeks after the baby wasborn. When she showed up demanding Kimmy several days later, thepolice were called. Margaret recalls an officer telling her to go to thecourthouse and file for custody. “We went down that day,” she said.

Less than a month after becoming grandparents, the Horns becameKimmy’s legal parents. “We never had ‘grandparent’,” says Peter, 53,of their lives since, which now they share with Kimmy, Kevin, 5, andKenny, 4 – all Tara’s children. With a total of three grandchildren toraise, his wife says, simply, “Sometimes I think, what the heck did we get into?”

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According to the 2000 census, more than 59,000 grandparents inVirginia and a growing number across the United States, like theHorns, have stepped in when their sons or daughters couldn’t – orwouldn’t – raise children on their own.

Like parents of any age, they have to deal with dirty diapers, doctors’ visits, and never-ending questions. They’ve been therebefore. The one question they can’t handle, though, is the oneunasked. Peter, for eight years a risk-assessment manager atPortsmouth Naval Hospital, explains it this way: “By the time theyare all old enough to live on their own, I’ll probably be dead.”

Peter doesn’t have much time to think of dying. Seven years afterhis first retirement, he’s working again and the couple is as busy asever. Complete with scabby knees, runny noses and loud voices thattend towards the demanding, three small kid-shaped tornadoes form

the stormy centre of stability the Horns have built to keep the dangers of the outside world – including their daughter – fromintruding.

Kimmy, Kevin and Kenny look like any small children, althoughtheir darker skin colour and curly hair is enough to cause stares whenPeter and Margaret take them shopping at the Navy base’s commis-sary. Get to know them, and their personalities emerge.

Kimmy is the leader of the group. Like her mother, Kimmy isheadstrong and hyperactive. After she began running away, they tookher to a doctor who sent them home with a prescription for Ritalinand a diagnosis: Attention Deficit Hyperactivity Disorder.

Kevin is his grandfather’s “helper”. For a five-year-old, he’s tall andstrong, curious and wide-eyed. He’s also a survivor: Kevin was dis-covered hours after being born, next to Tara’s unconscious form on

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the floor of a bathroom. Sharing his mother’s cocaine addiction, he has learning disabilities, suffers seizures and has had astroke that withered the left side of his body.

Kenny has a sweet smile, and he knows it. Intelligent and fearless,he was born healthy only because his mother was sober in jail fromthe fourth month of her pregnancy. After having Kenny in hospital,Tara went back to jail. Kenny was placed in foster care and then, fourmonths later, went to the Horns.

After Kenny, the Horns put their foot down. They couldn’t affordto take in any more children. It was all they could do to keep up withthe ones they had.

Tara has since given birth to more two daughters, one on 1stAugust last year. Another daughter, born two years ago, has beenadopted by foster parents. The Horns theoretically should receive

support of $65 per month for two of the children, the state minimum, but Tara is unable to pay even that amount.

The government provides assistance in the form of TANF(Temporary Assistance for Needy Families), a federal program thatprovides them with $321 a month. The Horns estimate they spendup to $250 a week on groceries. In contrast, foster parents in Virginiacurrently get $500 a month per child – an irony not lost on theHorns.

“We’re mad. We’re doing just as much as foster parents,” saysMargaret. “Sometimes more.” To help with expenses, Peter acceptshand-me-down clothing from co-workers whose children have outgrown them.

Mental and spiritual support comes in the form of monthlyGrandparents as Parents meetings, organized since 1997 by the

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Catholic Charities of Hampton Roads, Inc. The group’s founder,Minnie Thomas, 75, began with two support groups for grandparents. Now with the new title of Grandparents CaregiversResource Program, 12 groups exist in Norfolk alone, and others meetmonthly in Williamsburg, Newport News and Hampton Roads, andVirginia Beach.

The non-profit organization is expanding services to include support groups for children, and already has one called Relatives asParents. “We looked at the statistics, and we saw there was a need,”said Kathy Dial, director of Older Adult Services for the organization. “We’ve only reached the tip of the iceberg.”

According to Dial, it’s especially difficult for grandparents to raisechildren because so much has changed since they had their own.Many grandparents are single themselves, but continue to take on

children because they are family. “It’s getting worse,” said Dial. “It’snot a short-term thing. These grandparents have been doing this fora long time.”

When grandparents raise their grandchildren, they are faced withan array of issues, including custody. “Some of them don’t like to askfor custody because that would interfere with the possibility of thechild going back to the parents,” said Dial. She explained that othergrandparents immediately apply for custody, knowing that it willhelp them enroll the child in school and make other decisions for them.

That was the case when the Horns were mulling over the decisionsfacing them seven years ago. “We knew what we were doing. We did-n’t have social services knock on our door. We actually sought themout,” said Peter. “There were no surprises for us.”

The Horns were surprised, though, when they tried to adopt

ei8ht 43

Kevin. They spent $7,000 in lawyers’ fees, a bid ultimately unsuc-cessful when Tara failed to show up at the court hearing. “I don’ttrust anybody anymore. We’ve been burned too many times and I’mnot going to be burnt again. These are my kids. It’s asinine that thejudges are more inclined to favour the birth parents than the oneswho are taking care of the kids,” a frustrated Margaret said of theprocess they have been through.

Peter doubts that they are in any danger of ever losing the children,but he worries about their future. The children are considered wardsand are not eligible for benefits from Peter’s Navy pension in case ofhis death. When he retires for the second time, Peter will be 67. Hisown father died when Peter was 46, and he muses that his grand-children could be about 20 years old when he passes on. “If some-thing happened to both of us they’d be done,” he said.

In between the vacations, the classes and the organized chaos, theHorns are doing what they can to prepare their grandchildren for thefuture. After a long summer at home with them, Margaret is excitedabout the start of school. For the first time, all the children are inclasses. “This year I’ll be able to have some free time. I’ll be able toclean in peace, I’ll be able to eat in peace and go out with friends,”she explained.

While the children don’t yet know the circumstances surroundingtheir family, the Horns know the time is coming. “Kimmy kind ofknows that we are not biologically her parents. We told her that welove her just like she’s our daughter,” Margaret said.

Peter echoes the sentiment shared by many grandparents in thesame situation. “These kids are going to have to learn to do things ontheir own as quickly as possible. We won’t be around forever.” ❽

foto8 www.foto8.compresentations of topical stories including J B russell’s report on iraq’s Kurds and olivier Mirguet’s take on north Korea. plus expanded book reviews, exhibition listings and the home of ei8ht on the web.

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ei8htphotojournalism

ei8ht44

ei8ht 45

BaBY i wantYou soBY tina staLLarD

in the 24 Years since the world’s first test-tube baby was born, attitudes to infertility have changed. No longer is it seen as a sadness to be suffered but as an illness that can be treated. Yet despite the medical breakthroughs and headline stories about menopausal women conceiving with the help of science, the success rate for IVF remains surprisingly low: only one in five women becomes pregnant as a result of treatment.

Most women have at least three treatments, and success is not guaranteed. Yet, so overwhelming is their desire for motherhood, many go back time and again. Couples spend thousands of pounds, use up years of their lives and place an enormous strain on their relationship in the belief that ultimately IVF treatment will provide them with a much-longed-for child.

Tina Stallard photographed two couples undergoing IVF to explore what drives women to undergo this treatment and to show the emo-tional and physical demands of their experiences ❽

The exhibition “All for a Good Cause”, featuring the work of Jenny Matthews, Jonathan

Olley and Tina Stallard, supported by the Arts Council through East Midlands Arts and

in collaboration with ei8ht, is showing at the Picture House Centre, Leicester, UK, until

22nd August, before starting on a national tour.

ei8ht46

SIBERIA IS SYNONYMOUS WITH GULAGSand harsh winters. Both are present in Carl DeKeyzer’s new book Zona, a study of life within theprison camps of this region, along with more surprising details. In August 2000, De Keyzerwas invited to the capital Krasnoyarsk to host aworkshop accompanying a Magnum exhibition.While looking for a subject for his group to photograph he was introduced to Camp 27. In this model, all-male prison the inmates,dressed in regulation black uniform with theirheads shorn, perform their daily tasks amongstthe bizarre theme park of statues and decorationsadorning the prison buildings. This most unusualsetting inspired De Keyzer to return on two further occasions to photograph inside theregion’s other prison camps. The resulting body ofwork, taken within the constraints of the restricted access he was granted, contains contradictory images such as the positive view of

reformed conditions that the prison authoritieswish to project, juxtaposed with De Keyzer’sobservations of the remaining hardships of camplife. Photographs full of bright colours, blue skiesand scenes of everyday recreation and communityare contrasted with traditional images of grey andisolated gulag life – still found in some of theremoter camps. In an essay in the book, De Keyzer recollects howhis hosts controlled what he could and couldn’tsee. At times, he and his Russian colleagues wereleft waiting for days outside a camp before enter-ing to discover newly painted walls and prisonersin crisp uniforms. However, as De Keyzer becamemore familiar with the prison officials’ routine helearnt to snatch unsanctioned snapshots. His photograph of prisoners breaking rocks in a ditchis such an image. They stand together shirtless inthe sunshine, their bare, tanned torsos adornedwith amateur tattoos. In the background the high

wire of the perimeter fence and a watchtower withits single occupant overlook their labours – areminder of their supervised confinement. Suchmanual work is a constant in the lives of Siberia’sprison population and is recorded in all its formsby De Keyzer. In city-based factory camps menlabour in huge sheds producing wooden furniture,cutting planks or mending machinery. In the village camps the industry is agricultural; maleand female prisoners chopping wood, construct-ing buildings or nursing farm animals. A more unusual activity is depicted in Zona’scover image. In the depths of winter, amidst anopalescent landscape, a cold, blue light illumi-nates a huge horse carved from snow. Behind it,partially obscured by billowing steam clouds,dark figures busy themselves on other sculptures.In the foreground, a rotund man is silhouetted,warming his gloveless hands over a fire. Similar tothe huge wooden windmill, murals and metal

figures found in Camp 27, as well as the sky-bluepainted walls and decoration of many of the prisoninteriors, these sculptures represent officialattempts to enliven institutional life and divertfrom its mundane routine. Recreation, of one kind or another, features heavi-ly: men and women sit and doze in their respectivetelevision lounges, take saunas, perform plays,read, or let rip on the dance floor. Many of thesescenes are obviously staged for the camera, like thesurreal tennis match without balls: two track-suited men stand facing each other across thecourt, rackets in hand as if poised to play. De Keyzer’s photographs go some way to conveythe crowded conditions in single-sex communities:inmates sleeping side by side in huge barrack dormitories, jostling together in canteens at mealtimes or hanging out smoking in large groupsin the yards. Despite the physical proximities oflife inside, emotional loneliness must be hard toavoid. Visiting times are restricted to only a fewhours each month; De Keyzer records expressionsof expectation and anxiety on prisoners’ faces asthey wait or interact with their family or friends.Frequently prisoners turn to each other for support– single-sex relationships are another subject hewas asked not to photograph. A lot of inmates getmarried as wedlock ensures increased visiting timeand three extra hours are allowed for the ceremonyand a special marriage hotel is provided. DeKeyzer’s pictures of the newlyweds are poignant,stolen moments, a glimpse of private time withina communal system.The significance of the images in Zona is often asmuch to do with what is not recorded as with whatis: prison guards, perimeter fencing and watch-towers are not permitted, likewise single-sex relationships – yet these are the realities of prisonlife and De Keyzer sneaks them in whenever possible. Much can also be read in the demeanourof the prisoners: their wary expressions representyears of discipline. Zona does not pretend to giveus the reality of life inside a Serbian prison camp;rather it records what was made available to anoutsider. De Keyzer highlights the the prisonauthorities’ stage-management and at timesbreaks through to give us stolen insights ❽

SOPHIE WRIGHT

Zona by Carl De Keyzer,

160pp hardback, 90 colour photographs,

£29.95, Trolley, www.trolleynet.com

ISBN 0-9542648-4-3

ei8ht 47

REVIEWS

The Gate by François BizotHardback, 286 pp, £16.99 The Harvill Press 2003, ISBN 184343 001 0Few returned from Cambodia’s deathcamps; fewer still have written such ahauntingly moving account of their experience as has the French Buddhistscholar François Bizot. While clearly embittered by his experience, that Bizot isable to relive his waking nightmare socandidly, with such dignity and so poetically is simply as beyond belief as theordeal he somehow survived.

Afghanistan: The Road to Kabulby Ron Haviv. Essays by Ilana Ozernoy79 colour photographs, 160 pp., £30.Published in US by de.Mo, www.de-mo.orgISBN 0-9705768-5-4Originally billed as the first digitally photographed and produced book of itskind, Haviv’s work has achieved far morethan simply a technical victory. The harsh realities of war are evident but it is Haviv’sintuitive images that tell us much moreabout this particular conflict.

A man carrying a bunch of brightlycoloured balloons is photographed fromthe rear as two women dressed from headto foot in burkhas, their faces obscured,watch him walk past. Later, in conclusion, a released balloon floats towards a flock of white birds in an azure sky. Such is the quality and depth of the composition, what could have been a cliché instead becomes symbolic of a people released.

Exodus – Sebastião Salgado, An Exhibition – over 300 photographs at the Barbican Gallery,

Silk Street, London EC2 – until 1 JuneThe latest Sebastião Salgado exhibition isa timely reminder of how war, oppressionand inequality affect ordinary people. Entitled “Exodus”, and including 350black and white images from hisMigrations and Children series (photoabove), the collection explores the lives ofthe globe’s wandering masses; individualsand families forced to relinquish their rootsto escape persecution and poverty.

For a full-length version of all thesereviews visit: www.foto8.com/reviews/

INDIVIDUAL SHOWS:Tessa Bunney Moor and DaleAn exhibition of landscape anddocumentary photographs capturing the relationship betweenthe area’s landscape, wildlife and people. Venue: Nidd Castle ShootingLodge, Lofthouse Moor,Nidderdale, North Yorkshire28 June – 1 July

Guy BourdinA retrospective of Bourdin’s fashionphotography, acclaimed for its intensity, drama and highly distinctive style. Venue: Shine Gallery, 3 Jubilee Place, London SW3 3DT7 – 30 May

Frank Breuer, Warehouses and LogosBreuer’s first solo exhibition inLondon depicts the presence ofglobal corporations in theEuropean landscape.Venue: Photographers’ Gallery, 5 Great Newport Street, LondonWC2H 7HY21 May – 12 July

Jo Broughton, Me, Myself and ThemPhotographs exploring female sex-uality, desire and denial throughtwo bodies of work.Venue: Tom Blau Gallery, 21Queen Elizabeth Street, London,SE1 2PD, UK12 June – 16 July

Henri Cartier-Bresson De qui s’agit-il?A retrospective of the Magnumphotographer’s several decades ofhugely influential images. Venue: Biblioteque Nationalede France, Francois-MitterandBuilding, Quai Francois-Mauriac, 75013 Paris, France – until 27 July

Ad van Denderen Go No GoAn account on immigration seenthrough the eyes of the photographer. Venue: FOAMFotografiemuseum Amsterdam,Keizersgracht 609, 1017 DSAmsterdam, Netherlands– until 15 July

Walker EvansBest known for his documentaryphotographs taken in America’srural south during the 1930s commenting on the vernacular of American Life. Venue: Photographers’ Gallery, 5 Great Newport Street, LondonWC2H 7HY15 May – 12 July

Graciela Iturbide Juchitan The pueblo and people of Juchitanin Oaxaca, Mexico, famous for itslegends, myths and oral history.Venue: Side Gallery, 5& 9 Side, Newcastle-upon-Tyne, NE1 3JE– until 6 July

Max Kandhola Illustration of LifeA documentation of the artist’sfather’s decline shortly after beingdiagnosed with cancer. Venue: Impressions Gallery, 29 Castlegate, York YO1 9RN– until 31 May

Jacques-Henri LartigueThe Age of Elegance and TheArt of Style A new collection of Latigue’s glamorous and elegant work.Venue: The Michael HoppenGallery, 3 Jubilee Place,London, SW3 3TD4 June – 9 August

Inge MorathBoarder Spaces / Last JourneyMemorial exhibition that combinesboth photographs by and of thelegendary photographer who diedin 2002. Venue: Leica Gallery, 670Broadway, New York, NY 10012,USA27 June – 9 August

Simon Norfolk Afghanistan: chronotopiaAn exhibition of images described

by the artist himself as: "Utterdestruction on an epic, Babylonianscale, bathed in the crystal light ofa desert sunrise."Venue: Sirius Arts Centre, Cobh, Co. Cork, Ireland5 – 30 June

Karen RobinsonRoma: Gypsy Villages inRomaniaPanos Photographer KarenRobinson’s take on thediscrimination and poverty that

unite most of the 20 million Roma worldwide.Venue: Side Gallery, 5& 9 Side,Newcastle-upon-Tyne, NE1 3JE 24 May – 6 July

Sebastiao Salgado – ExodusA photographic account of massmigration and the different storiesrelated to it. (1993–1999). Venue: The Barbican ArtGallery, Barbican Centre, Silk Street , London EC2 8DS – until 1 June

Paul Seawright Hidden An account of an Afghanistan tornapart by war. Venue: Ffotogallery, Chapter,Market Road, Cardiff CF5 1QE– until 18 May

Lorna SimpsonAn exhibition of the work of theinfluential African-American photographer and filmmaker. Venue: The Irish Museum ofModern Art, Royal Hospital,

EXHIBITIONS

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© Guy Bourdin Estate courtesy of Shine Gallery

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© Homer Sykes

Kilmainham Dublin 8– until 8 June

Homer Sykes Shanghai OdysseyA collection of Sykes’ photographsdocumenting Shanghai from the personal and familiar to the industrial and institutional. Venue: Open Eye Gallery 28 – 32 Wood Street, Liverpool L1 4AQ– until 28 June

GROUP SHOWS:The Jazz Lenses – Photographsof Jazz Musicians in NewOrleans, USA Skip Bolen and Steven Forster Photographs dedicated to "captur-ing the moments" of today’s mostexciting jazz performers. Venue: John Stinson Fine Arts,900 South Peters Street, New Orleans Museum & Arts District, USA – until 31 May

All in a Good CauseJonathon Olley, Jenny Mathewsand Tina Stallard Three individual bodies of documentary photography in collaboration with ei8ht.Venue: Picture House Centre for Photography,International House, 3rd floor, 125 Granby Street,Leicester LE1 6FD – until 22 August

Caught On Camera, Photographers Photographed Photojournalism, fashion shoots,holiday snaps, family portraits andcelebrity paparazzi shots feature inthis show of photographers at work. Venue: Tom Blau Gallery, 21 Queen Elizabeth Street,Butlers Wharf, London SE1 2PD – until 16 May

Karel Cudlin, James Ravilious,Grace Robertson, GeorgeRodger and Humphrey SpenderThe work of Czech photographerknown for his humanistic documen-tary photography, and otheracclaimed British photojournalists.

Venue: Leica Gallery, 670Broadway, New York, NY 10012,USA – until 21 June

Various Artists, Cultural BreakthroughA VSO-sponsored exhibition in which celebrities select the images and words that capture the significance of their unique cultural experience. Venue: The Newsroom, The Guardian and ObserverArchive and Visitor Centre, 60 Farringdon Road, London EC1R 3GA 5 June – 28 June

The Eye and the Camera: a History of Photography Rudolf Koppitz, Walker Evans,Stephen Shore and othersThe key protagonists of visual communication from a collectionthat commenced in 1999. Venue: Albertina,Albertinaplatz1, 1010 Vienna,Austria– until 8 June

Metallica and Peep WorldRoss Halfins & John StoddartPhotographs of metal bandMetallica, and John Stoddart’s idiosyncratic images of women. Venue: Proud Camden Moss , 10 Greenland Street, London NW1 – until 25 May

Rhubarb Rhubarb InternationalInternational Festival of the Image,with an emphasis on three days oftalks and portfolio reviews.Venue: Orange Studio,Birmingham. www.rhubarb-rhubarb.net25 – 27 July

Without WordsSome of the finest examples ofpress photography from the Mastersof the craft exhibited together inone collection.Venue: Kicken Gallery,Lienienstrasse 155, D101115,Berlin, Germany– until 22 May

East of EdenAlban Kakulya & Yann MingardCharting the frontiers of a newEurope from the Baltic to the BlackSea in landscape and portraiture. Venue: Photofusion 17a, Electric Lane, London SW9 8LA6 June – 12 July

VeilFaisal Abdu’Allah, Gaetan de Clerambault, Marc Garanger, Shirin Neshatand Koroush Adim International exhibition examiningone of the most powerful symbolsin contemporary culture, the veil. Venue: Open Eye Gallery, 28 – 32 Wood Street, Liverpool L1 4AQ5 July – 16 August

World Press PhotoThe exhibition of winning entries inthe 2002 international competitionvisits the UK.Venue: Royal Festival Hall,Queen Elizabeth Hall, Purcell Room, SouthBank, London, SE1– until 1 June

Compiled by Stephanie Wegenast

ei8ht welcomes exhibition listings. Please send news releases via email to: listings@foto8.com or post to: Listings,foto8, 18 Great PortlandStreet, London W1W 8QP. Every effort has beenmade to ensure that allinformation is correct attime of going to press.ei8ht and foto8 Ltdaccept no responsibilityfor any changes to datesof exhibitions.

49ei8ht

Walker Evans 15 May – 12 July 2003

Frank Breuer 21 May – 12 July 2003

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5 & 8 Great Newport Street Open Daily / Admission Free Tel: 020 7831 1772 www.photonet.org.uk

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INDIVIDUAL SHOWS:Tessa Bunney Moor and DaleAn exhibition of landscape anddocumentary photographs capturing the relationship betweenthe area’s landscape, wildlife and people. Venue: Nidd Castle ShootingLodge, Lofthouse Moor,Nidderdale, North Yorkshire28 June – 1 July

Guy BourdinA retrospective of Bourdin’s fashionphotography, acclaimed for its intensity, drama and highly distinctive style. Venue: Shine Gallery, 3 Jubilee Place, London SW3 3DT7 – 30 May

Frank Breuer, Warehouses and LogosBreuer’s first solo exhibition inLondon depicts the presence ofglobal corporations in theEuropean landscape.Venue: Photographers’ Gallery, 5 Great Newport Street, LondonWC2H 7HY21 May – 12 July

Jo Broughton, Me, Myself and ThemPhotographs exploring female sex-uality, desire and denial throughtwo bodies of work.Venue: Tom Blau Gallery, 21Queen Elizabeth Street, London,SE1 2PD, UK12 June – 16 July

Henri Cartier-Bresson De qui s’agit-il?A retrospective of the Magnumphotographer’s several decades ofhugely influential images. Venue: Biblioteque Nationalede France, Francois-MitterandBuilding, Quai Francois-Mauriac, 75013 Paris, France – until 27 July

Ad van Denderen Go No GoAn account on immigration seenthrough the eyes of the photographer. Venue: FOAMFotografiemuseum Amsterdam,Keizersgracht 609, 1017 DSAmsterdam, Netherlands– until 15 July

Walker EvansBest known for his documentaryphotographs taken in America’srural south during the 1930s commenting on the vernacular of American Life. Venue: Photographers’ Gallery, 5 Great Newport Street, LondonWC2H 7HY15 May – 12 July

Graciela Iturbide Juchitan The pueblo and people of Juchitanin Oaxaca, Mexico, famous for itslegends, myths and oral history.Venue: Side Gallery, 5& 9 Side, Newcastle-upon-Tyne, NE1 3JE– until 6 July

Max Kandhola Illustration of LifeA documentation of the artist’sfather’s decline shortly after beingdiagnosed with cancer. Venue: Impressions Gallery, 29 Castlegate, York YO1 9RN– until 31 May

Jacques-Henri LartigueThe Age of Elegance and TheArt of Style A new collection of Latigue’s glamorous and elegant work.Venue: The Michael HoppenGallery, 3 Jubilee Place,London, SW3 3TD4 June – 9 August

Inge MorathBoarder Spaces / Last JourneyMemorial exhibition that combinesboth photographs by and of thelegendary photographer who diedin 2002. Venue: Leica Gallery, 670Broadway, New York, NY 10012,USA27 June – 9 August

Simon Norfolk Afghanistan: chronotopiaAn exhibition of images described

by the artist himself as: "Utterdestruction on an epic, Babylonianscale, bathed in the crystal light ofa desert sunrise."Venue: Sirius Arts Centre, Cobh, Co. Cork, Ireland5 – 30 June

Karen RobinsonRoma: Gypsy Villages inRomaniaPanos Photographer KarenRobinson’s take on thediscrimination and poverty that

unite most of the 20 million Roma worldwide.Venue: Side Gallery, 5& 9 Side,Newcastle-upon-Tyne, NE1 3JE 24 May – 6 July

Sebastiao Salgado – ExodusA photographic account of massmigration and the different storiesrelated to it. (1993–1999). Venue: The Barbican ArtGallery, Barbican Centre, Silk Street , London EC2 8DS – until 1 June

Paul Seawright Hidden An account of an Afghanistan tornapart by war. Venue: Ffotogallery, Chapter,Market Road, Cardiff CF5 1QE– until 18 May

Lorna SimpsonAn exhibition of the work of theinfluential African-American photographer and filmmaker. Venue: The Irish Museum ofModern Art, Royal Hospital,

EXHIBITIONS

48

© Guy Bourdin Estate courtesy of Shine Gallery

Phot

ofus

ion:

© A

lban

Kak

ulya

& Y

ann

Min

gard

– P

anos

– S

trate

s

© Homer Sykes