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LEFT: Henry Montgomery, who has served 23 years in prison for homicide, serves the ball during a match at San Quentin State Prison. RIGHT: Guards stand watch over inmates in San Quentin’s recreational yard, which now includes a tennis court. © Rick Loomis LA Times
TENNIS AND THE CALIFORNIA DEPARTMENT OF CORRECTIONS
Last year, whilst featuring photo essays (here & here) on the San Quentin Giants baseball team, the photographer Emiliano Granado mentioned seeing tennis matches.
San Quentin sits on a Marin County promontory; every day, in the surrounding well-heeled communities deuce and lemonade are being served, but it was a stretch even for my imagination to envision games, sets and matches playing out inside those walls.
Kurt Streeter – for the Los Angeles Times – went to San Quentin to play a match and profile Don DeNevi, San Quentin’s 72 year old recreation director. DeNevi is largely responsible for the construction of the prison’s tennis court. Read Tennis is serious sport in San Quentin Prison.
THE PHOTOGRAPHS
Rick Loomis created a photo essay Tennis Inside the Walls of San Quentin of his own; the two works of journalism are a nice compliment.
LEFT: Henry Montgomery, 43, center, laughs with other inmates during a break in play. RIGHT: Raphael Calix watches the activity on one of the blocks at San Quentin. Calix is a regular on the tennis court. © Rick Loomis/Los Angeles Times
Democracy Now! reports:
Journalists from the investigative team in Iceland that released the now-infamous US military video on WikiLeaks traveled to Baghdad recently to meet with the family members of some of the twelve people killed in the 2007 attack.
Ahlam Abdelhussain, the widow of Saleh Mutashar who was killed when the gunship opened fire on a van, asks, “Why was he shot with his children in the car? They did nothing wrong. He was helping a journalist. What was his crime? What was the crime of our children who are left with no father and no support?”
Democracy Now! introduces the piece with footage from the attack on the van. Material about Mutashar begins at 15.27
Saleh Mutashar was taking his 6 and 9 year old children to school when he passed the aftermath of the attack and choose to help a wounded man.
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Also from Democracy Now! “This is How These Soldiers Were Trained to Act”
PART FIFTEEN IN A SERIES OF POSTS DISCUSSING PHOTOGRAPHERS’ ACTIONS AND RESPONSES TO THE KILLING OF FABIENNE CHERISMA IN PORT-AU-PRINCE, HAITI ON THE 19TH JANUARY 2010.
The aftermath of the Haiti earthquake was zealously covered by the media and American networks particularly.
Several factors likely fed the saturation of disaster over the wires – Haiti’s geographic proximity; Haiti’s diaspora and cultural ties within the US; fresh memories of the controversial, US-backed coup and removal of Jean-Bertrand Aristide; and collective guilt over (or, alternatively, the collective amnesia of) the US’ corporate involvement in Haiti.
The US was going in full-yield again.
The lifeless body of fifteen-year-old Fabienne Cherisma lies on the roof of a fallen building in downtown Port-au-Prince while looters file down the street on January 19, 2010. The young girl was carrying three ornamental mirrors when she was hit by a random shot from Haitian police as she walked with looters on the street. Photo by Lucas Oleniuk / Toronto Star.
WHY ONE IMAGE?
The still Fabienne Cherisma surrounded by the bustle of opportunists jolted me from my image-stupor for long enough to realise it was time to voluntarily step off the media-photo-treadmill and pay attention to a single image, a single person, a single story.
It occurred to me that this was barely a risk. If the majority of the imagery had stopped informing then I really had nothing to lose by redirecting my energies and time elsewhere.
(Please, don’t misunderstand me: I appreciate the purpose for a lot of media images, and I believe that they deliver immediate messages which catalyse reaction, donations and aid. That said, emoting a response in an audience is a distinct function to that of informing an audience.)
WHY FABIENNE?
In all honesty, I may have never have seen that image and with that in mind, I may have paid particular attention to another single victim of the earthquake. Chance? Compulsion? My “small contribution”? I don’t know. I don’t want to minimise my analysis of Fabeinne Cherisma’s death in photographs, but nor do I know exactly what it is yet …
Now, after some time, two unique things about the image of the dead Fabienne Cherisma still stand out.
In other pictures bodies were either buried, dusted, pulverised or piled high with other corpses. If they lay in the streets they were circled by onlookers. Fabienne’s body was isolated. Secondly, unlike 230,000 of her compatriots, it wasn’t the violent instability of concrete in the physical environment that killed Fabienne, it was the violent fallibility of human decision making that killed her; a bullet, from a gun, in a hand.
MAN-MADE NATURAL DISASTER
It has been said that no natural disaster is simply that, but that every disaster comprises natural and man-made factors. Man-made corruption, political instability and resultant poverty led to inadequate (if any) building codes. Just as human decisions prior to the quake cost lives, so they would after the quake.
The rainy season is about to begin in Haiti and the quality of aid, community solidarity, flood and disease abatement measures will determine how many people succumb to this second wave of elemental assault.
Fabienne, to me, was one of the first victims to fall to poor human decision-making following the earthquake. Others have perished since and unfortunately, thousands more are likely to die. (I read an estimated 5,000 people may die in the predicted mudslides, but I don’t know on which this is based – the cold calculation makes me quite uncomfortable).
Fabienne’s death was not in the earthquake but in its aftermath.
VISUAL FORENSICS
The day after seeing Garcia Rawlin‘s photograph for Reuters, I found a virtually identical image by Jan Grarup, except Fabienne’s body was positioned differently. Suddenly, time and timing was brought to bear upon Fabienne’s demise. Two photographers. Soon after, I saw the work of Olivier Laban-Mattei, whose photographs followed the family down the street as they carried the body. Three photographers.
Once I had launched my inquiry, the full picture developed quickly. An interview with Michael Mullady. Four photographers. Shortly after, Edward Linsmier discussed his experiences at the same locations. He was with Nathan Weber. Six photographers.
At this point I was already in contact with Grarup and Mullady. Garcia-Rawlins and Laban-Mattei did not respond to inquiries and have not until this day (I cannot be certain they received my inquiries). Grarup’s response mentioned Paul Hansen and Jan Dago. Eight photographers.
( Jan Dago did not respond to my inquiries. His images of Fabienne are here and this slideshow references looting in its title but actually has little of visual evidence to contribute to my inquiry.)
Hansen was also accompanied by Michael Winarski, US correspondent for Dagens Nyheter. Eight photographers, one reporter.
The next photojournalist to surface was James Oatway. Ten journalists – nine photographers, one reporter. Oatway mentioned Alon Skuy, who in turn mentioned the delayed arrival of Felix Dlangamandla upon the scene. Eleven photographers.
Meanwhile, I stumbled upon Nick Kozak‘s work and upon contacting him learnt of two other Canadian photographers present – Lucas Oleniuk and Matt Levitch (Tranbleman De Te). Fourteen photographers.
Soon thereafter, a reader alerted me to Frederic Sautereau‘s portfolio containing graphic images of disorder, skirmishes, police and Fabienne’s corpse. Fifteen photographers.
CONCLUSIONS
1.) There may well have been more photographers on the scene. It wouldn’t surprise me to learn so.
2.) A couple of photographers mentioned giving others space and trying not to get in others’ shots and avoiding getting photographers in their frames. Why? If a situation is chaotic and journalists are part of that chaos, what does it matter if photographers or journalists are in the scene?
Jan Grarup photographs police beating a looter in downtown Port-au-Prince Tuesday afternoon. © Lucas Oleniuk/Toronto Star.
Tuesday, January 19th. Photo: Jan Grarup/NOOR Images
As a small step, this mutual refusal to depict fellow professionals in the field, can be understood as the first step toward a manipulated in front of a distant audience.
The erasure of fellow media from a scene is a paradox. Journalists are required to record events as they are, but if a photographer depicts them as if he or she is working in isolation – as if from a unique one-off viewpoint – then what is delivered is not an objective, neutral description but a construction.
3.) I am not criticising the photographers who have kindly given their time, thoughts and (often) emotions to this inquiry, but I am questioning the decisions at the photodesks of mass media. I usually only see images that implicate media/photographers when the story becomes about them, when they get injured or kidnapped. Photojournalists are either the directors of a scene or the embattled hero of a scene; they are never bit-part players.
4.) I am convinced, CONVINCED, that enough evidence exists in the digital files of these fifteen photographers to identify and prosecute the policeman who fired the fatal shot.
© Alon Skuy
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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 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)
WAR
In many ways I am surprised it has taken so long for a reel of film to make such an immediate impact on American audiences. The wikileaked military footage Collateral Murder shows us exactly what war is; war is the erasure of doubt, benefit of doubt in the face of procedure. The procedure of war is to kill.
Photographer Namir Noor-Eldeen runs for his life in the midst of a US 30mm machine-gun assault
Following the helicopter gunman’s requests to engage, the wait for the permission is one of the most haunting silences I’ve heard. And then, murder. Is it any wonder PTSD follows such carnage?
PRISONS
Ever since Change.org published With 140,000 Veterans in Prison, We Can Do Better last Veteran’s Day I have been aware of stories about the links between violence and suffering abroad with violence and suffering within US communities.
This week two stories surfaced – one from either side of the Atlantic – which illustrate two common scenarios for returning service men and women. The first is clinical depression in the from of Post-Traumatic Stress Disorder, and the second is clinical depression in the form of addiction and aggressive behaviours.
At the Mid-Orange Correctional Facility in Warwick, N.Y., service dogs share a room with the prisoners who help train them. Photo: Stephen Crowley/The New York Times
PTSD
Stephen Crowley visited Mid-Orange Correctional Facility in Warwick, N.Y. to document the Puppies Behind Bars program. (I have mentioned this initiative before at a NY womens prison).
The program at Mid-Orange serves as rehabilitation in the form of responsibility, “softening up” and purpose in the direct service to outside communities. One of the growing communities to benefit from personally trained service dogs are America’s war veterans.
Staff Sgt. Aaron Ellis, suffering from PTSD had not been to the supermarket in three years until his prison-trained service dog gave him the confidence to step into the stimulating environment.
Watch the New York Times’ slideshow A Canine Treatment for PTSD.
CRIME
The Times Newspaper (UK) published From Hero to Zero reporting the fortunes of three ex-soldiers who’ve done time. Their addiction and aggression is often the result of either undiagnosed or untreated PTSD. The Times:
There is a widespread belief that post-traumatic stress disorder, occasioned by Britain’s engagement in two brutal wars, is behind the large numbers of veterans who offend. The truth is muddier. PTSD normally takes several years after the traumatic event to set in.
The Howard League for Penal Reform has launched an independent inquiry to bring this to public attention in the UK.
Former UK soldier, Michael Clohessy sleeps with a sword under his pillow. Photo TIMES Newspaper, UK
One of the biggest stumbling blocks for understanding and working to improve the prospects of the veteran/prisoner population is that the exact figures are not known and estimates vary wildly. The Times:
We send too many ex-servicemen to prison. How many, nobody is sure. A recent study by the National Association of Probation Officers (Napo) estimated that there may be as many as 8,500 ex-servicemen in prison out of a total prison population of 92,000. Harry Fletcher, assistant general secretary of the organisation, believes that around 8% of Britons in jail are from the forces. The vast majority of these offenders are from the army, and a large majority of the ex-army are from the infantry. But other groups have taken issue with Napo’s findings. The Ministry of Justice and the Ministry of Defence conducted their own survey, which they published in January, concluding that only 3% of the prison population were former members of the military — around 2,500 veterans in total.
I think the title of the Times piece suggests it all – From Hero to Zero.We freely project the character of a man based upon our knowledge of his or her publicly performed actions. This is okay, but it mustn’t be only form part of our assessment. Heroes are never heroes, and zeroes are never zeroes; they are stereotypes. Stereotypes are often benign but sometimes damaging and paralysing to good judgement.
WHAT TO THINK?
Our prisons are filled with a wide variety of people with a wide variety of faults, competencies, potential and histories. For the most part, the authorities are aware of this, but I am not always convinced the public is.
Is it in our interest to think of these diverse populations in prison? Does this affect how we consider prisons and prison reform?
What do we need to see (photography?) – as well as read – to think of prisons in more reflexive ways?
Last week, I said that photographs from Guantanamo now teach us nothing. I should qualify that statement; photographs will tell us nothing new of the military operations, procedures and especially not future plans for the site.
It does not mean, however, that photographs are useless. Visual sources can be presented to refine existing positions of that illegal and politically foolish site.
Looking at the same set of photographs by Tim Dirven, Robert Hariman of NO CAPTION NEEDED has drafted a position that describes the growing and inevitable non-utility of Guantanamo as it relates to the discredited policy that originally led to its construction and use.
“An architecture of stupidity begins to emerge. For example, the extreme functionality of the space that actually inhibits any reasonable use, much less any use that might lead to resolution of the larger conflict. Also perhaps the over-design of the security apparatus: tables bolted to the floor within a cage will have their rationale, but there is something so excessive here that it has to be a sign of arbitrary rules, endless procedures, and near-complete inattention to anything else but the literal replication of the machinery of power. Nor is that a dynamic process, but one that depends on stasis, on the inactivity, boredom, and habitual resignation to routine evident in the guards’ postures.”
“[Guantanamo] prison is a monument to stupidity. It is not enough to reform the prison, however. My point is that the national security state produces stupidity because it depends upon stupidity. The national interest of a democratic people may be served well by reason, but the modern state, to the extent that it is a regime of coercive control, will rely on another mentality: stupidité d’état.”
(My bolding)
It’s only fair to compare Obama’s 2009 outing with the big rabbit with George W. Bush’s 2008 appearance.
But sometimes pigment trumps pixels.
Painting by Dan Lacey
Ken Light won Round One in the small claims division of the Superior Court of California in San Francisco on December 23. He claimed unfair business practices under state law because Current TV used his 1994 image of Texas death row inmate Cameron Todd Willingham without permission. Light won and Current TV was ordered to pay a retroactive licensing fee and damages to the tune of $588.
Well, Gore survived the count and is up for Round Two. Current TV are claiming their use was “fair use”. Conor Risch of PDN Pulse:
Current TV has appealed to San Francisco Superior Court, where its lawyers will be able to mount a more vigorous defense against Light’s claim.
That will cost Current Media a lot more than simply paying the small claims judgment. But the media company has a self-interested principle to defend: the right to use news photos at will without permission, and without payment. A trial date has been set for April 14.
Again, stay tuned folks …
Inmates in Discussion © 2009 Ged Murray
It might be that the anniversary of the most famous riot in the history of the British prison system will become an annual feature on Prison Photography?
Last year, I noted the 19th anniversary of the Strangeways Riot with looks at the work of Ged Murray and Don McPhee. This year for the big 20, I’ll point you in the direction of Ciara Leeming, fellow blogger, Northerner and Thatcher-basher. (Why is it that we children of the late seventies/early eighties can’t get out from under the iron lady’s shadow?)
Ciara:
Ciara’s just written a piece for Big Issue in the North, the UK’s magazine sold by homeless vendors in cities up and down the Isle. Download Ciara’s Big Issue feature here.
Prison Photography 