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On this blog last week, I raised questions about the viability of the Leica Oskar Barnack Award jury process. The 2011 winner Jan Grarup is a colleague with one of the five jurors, Stanley Greene.
Grarup and Greene, with seven other photographers, co-founded the NOOR Images Agency, based in Amsterdam, The Netherlands in September 2007.
I emailed the offices of both the Leica Oskar Barnack Award and NOOR Images with the following questions:
Do you see this as a conflict of interest?
Did you foresee this as a problem before judging began?
Was Stanley Greene exempt from voting on entries by fellow NOOR photographers?
I am interested to know the jury process and if Leica Oskar Barnack Award believes it needs to defend itself against ethical questions.
The questions were designed to be relatively open and non-accusatory while getting at each bodies’ staked and defendable positions.
TINA WIESNER ON BEHALF OF THE LEICA OSKAR BARNACK AWARD
Leica Camera AG invited 5 jury members for the 2011 judging of the Leica Oskar Barnack Award / Newcomer Award.
The jury voted “unanimously” for the winner. There was no conflict of interest.
Please note that we received more than 2000 entries, representing photographers from 89 countries, many of them independent or working for renowned agencies. During the judging process, the jury concentrates on the editing of the series of 10 – 12 images and the information given about the story behind.
CLAUDIA HINTERSEER ON BEHALF OF NOOR IMAGES
One of our photographers was invited to be on the jury and another NOOR photographer was allowed to enter work according to the Leica Oskar Barnack entry rules.
The Leica Oskar Barnack organization has judging rules in place and a secretary to oversee these are being abided to. Like most other international photography competitions, their judging rules includes a clause that at crucial moments jury members have to announce specific working and/or personal relationships where there tends to be a conflict of interest. I know that Stanley Greene has made no secret of the fact that he, Jan Grarup and seven other photographers (and myself) founded a photography collective several years ago. Taking into account the professionalism of the other jury members of this year’s LOB competition, and trusting the fact that the Leica Oskar Barnack secretary does his/her duty, I trust that the multi-membered jury’s decision was made on the basis of the outstanding quality of Jan Grarup’s work, rather than on the basis of one jury member’s particular business interest.
In his career, Jan Grarup has been honored with some of the most prestigious awards from the photography industry and human rights organizations, including: World Press Photo, UNICEF, W. Eugene Smith Foundation for Humanistic Photography, POYi and NPPA.
Looking at other international photography contests you will be amazed how often jury members are professionally or – as is very common in our industry – personally (on the basis of friendships) related to photographers whose work is rewarded.
A few things:
I am still unclear as to whether Wiesner’s “unanimously” means Greene voted or abstained on Grarup’s work; whether his vote was important or not to Grarup’s win.
Hinterseer’s argument is a little more convincing than Wiesner’s, mainly because she explains the mechanics of the jury process.
Grarup’s past awards have no relevance to this issue.
Hinterseer softens the blow by saying pretty much that this sort of thing happens all the time. And it is this last point that I think is the take away. I’ve not given it any thought in the past. Let’s change that.
I took a quick look at the judging process at the World Press Photo and noted Stephen Mayes, managing director of VII Photo. I thought it a pretty safe bet that a VII Photo photographer won something at WPP. Sure enough, Ed Kashi won the Contemporary Issues: 2nd Prize Singles.
No judgement on Kashi, Mayes or VII; I’ve just used them to illustrate Hinterseer’s point. Besides, the labyrinthine WPP jury process probably rinses out much direct influence.
So, I’ll conclude with two questions. 1) Is this situation – as suggested – really unavoidable? 2) If so, what are we to make of this web of casual association and sanctioned incest when it comes to industry awards?
Last week, Danish photojournalist Jan Grarup was awarded the Oskar Barnack Leica Award 2011 for Haiti Aftermath.
COLOUR VS. BLACK AND WHITE
Grarup tells TIME.com: “I want to put some focus on what is going on in other places in the world. [...] When you try to photograph things from perspective, you get a little more in-depth of what is happening.”
So, I guess my question is ‘Does colour not exist in the other places of the world?’ Grarup originally shot the images in colour, converting to B&W in post-production. It should be said that not all images in his Barnack entry are part of the original dispatch and so there is a (slight) chance those files were made originally in B&W. [UPDATE 06.22.11, 10:00PST. It could be that as Grarup shot in RGB, and had his screen displaying B&W. It could be that he never intended to use colour. Yet, everything's colour still, as you look at it through the viewfinder.]
I include shots from his 136-image portfolio, dispatched to his agency NOOR briefly after his stint in Haiti, so you can compare them with the B&W images of his winning portfolio. I’m not here to argue for or against colour and/or B&W – I just want to provide a starting point for conversation.
As part of my ongoing inquiry into the photojournalism surrounding Fabienne Cherisma’s death, Grarup offered Prison Photography a brief Q&A in March 2010.
Grarup took several photographs of Fabienne Cherisma dead on the collapsed roof-top; it’s an image, I argue, is both multi-authored and synonymous with the Haiti earthquake. Grarup did not include such an image in his Barnack entry, but did include a photograph of Fabienne’s brother and sister over her corpse after she’d been retrieved from the rooftop.
JUROR CONFLICT OF INTEREST?
I should say that, by my reckoning, NOOR is one of the most responsible photo agencies I’ve looked at; it’s stories impress me consistently and they have a couple of my preferred photographers on staff. This is not a distant attack, but a very specific question as to how they could possibly see this one panning out without any questions being asked.
Moreover, the Oskar Barnack Award (OBA) either shouldn’t have allowed Greene on the jury, or if he was so vital to the jury process, they should’ve insisted NOOR photographers needn’t apply. Both NOOR and OBA have exposed themselves unnecessarily to ethical questions.
THE PURPOSE OF THIS POST?
1) These images provide anchors to which the endless colour vs. B&W debate can gain some focus.
2) Stanley Greene‘s role as a juror deserves to come under serious scrutiny. As a member of NOOR images, it’s difficult to ignore the conflict of interest.
3) I feel obliged to report on any news, updates and industry awards as they have concerned the photographers involved in my original inquiry.
Jan Grarup photographs police beating a looter in downtown Port-au-Prince Tuesday afternoon. © Lucas Oleniuk/Toronto Star.
ALSO IN THE ‘PHOTOGRAPHING FABIENNE’ SERIES
Part One: Fabienne Cherisma (Initial inquiries, Jan Grarup, Olivier Laban Mattei)
Part Two: More on Fabienne Cherisma (Carlos Garcia Rawlins)
Part Three: Furthermore on Fabienne Cherisma (Michael Mullady)
Part Four: Yet more on Fabienne Cherisma (Linsmier, Nathan Weber)
Part Five: Interview with Edward Linsmier
Part Six: Interview with Jan Grarup
Part Seven: Interview with Paul Hansen
Part Eight: Interview with Michael Winiarski
Part Nine: Interview with Nathan Weber
Part Ten: Interview with James Oatway
Part Eleven: Interview with Nick Kozak
Part Twelve: Two Months On (Winiarski/Hansen)
Reporter Rory Carroll Clarifies Some Details
Part Fourteen: Interview with Alon Skuy
Part Fifteen: Conclusions (Matt Levitch, Felix Dlangamandla)
Part Sixteen: Fabienne Cherisma’s Corpse Features at Perpignan (Frederic Sautereau)
Part Seventeen: Brouhaha in Sweden following Award to Paul Hansen for his Image of Fabienne Cherisma (Paul Hansen, Olivier Laban Mattei, James Oatway)
Part Eighteen: A Photo of Fabienne Cherisma by Another Photographer Wins Another Award (Lucas Oleniuk)