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The Hell of Copper (L'Enfer du Cuivre). Series: The Hell of Copper. 1800x1200. January-November 2008. Accra, Ghana. © Nyaba Leon Ouedraogo

Burkina Faso-born Nyaba Leon Ouedraogo is one of the twelve shortlisted photographers for the Prix Pictet.

Ouedraogo’s ‘The Hell of Copper’ (L’Enfer du Cuivre) depicts the Aglobloshie Dump in Accra, Ghana. “From dawn to dusk, dozens of young Ghanians, from 10 to 25 years of age, exhaust themselves […] seven days a week. Their mission is to disassemble the old computers and burn certain plastic or rubber components to cull the precious copper, which will then be resold. Everything is done by hand or with iron bars, makeshift tools found among the refuse. They have neither masks nor gloves. There are not even any functioning toilets,” says Ouedraogo.

Ouedraogo quotes a 2008 Greenpeace report on toxic substances at the site:
– lead: in cathode tubes and monitors, harms the nervous, reproductive, and circulatory systems.
– mercury: in flat screens, harms the nervous system and the brain, especially in young children.
– cadmium: in computer batteries, dangerous for the kidneys and the bones.
– PVC: this plastic used to insulate electrical wires, when burned, gives off carcinogenic chemical substances that can cause respiratory, cardiovascular and dermatological problems.

Ouedraogo’s pictures are good, but I don’t think they are good enough. The story is vital but the images don’t live up to its importance (presuming the 10 images edit for the Prix Pictet are his best works.)

In truth, I don’t want to criticise the work of a photographer from Burkina Faso. When was the last time a photographer from Western, Eastern or Central Africa was shortlisted for a major photography prize? We should be celebrating the recognition. But Ouedraogo shouldn’t win; the project is not polished enough.

For the record, I don’t think big-guns like Taryn Simon or Ed Burtynsky should win either: they don’t need the exposure and their work is familiar, a bit dated and easy to digest.

I hope either Stéphane Couturier or Vera Lutter win.


Back to Aglobloshie. It’s a familiar subject to us photo-nerds, not least because Pieter Hugo’s Permanent Error about Aglobloshie did the rounds a few months back.

Abdulai Yahaya, Agbogbloshie Market, Accra, Ghana. 2010. @ Pieter Hugo

Hugo was very quick at turning his images round. They were distributed within months of his 2010 visit to Aglobloshie. Yet, it was Ouedraogo who went to the toxic site first; in 2008, a full two years before Hugo set up his camera.

Hugo has been the centre of debates on race and representation before, so it is with even more reluctance I draw the comparison to Ouedraogo. Hugo’s portfolio contains dozens of images and so it can boast a wider view of the poisoned micro-environment. This works in Hugo’s favour.

Both photographers emphasise the prevalence of child labour, the presence of grazing livestock and the use of found tools and noxious open fires to extract copper from the scraps. If you look at the statements by Ouedraogo and Hugo they contain virtually the same info.

Again, it is the story that is of primary importance, here.

The ultimate question then, is which portfolio is best likely to capture the attention and imagination of viewers enough for them to shift their worldview of politics, consumption and globally connected “growth”? (“Growth” is the theme of the Prix Pictet this year.)

Hugo’s work sells in galleries and it made for those gallery sales. It’s also a bleak look at the conspicuous consumerism. Ouedraogo’s work is uses photojournalist angles, some portraits and shots of the expanses of computer carcasses. Ouedraogo’s work is less cohesive. And for some reason I want to say it peels away.

I’m not really convinced by either, but I’d still err reluctantly to the foggy Hugo square.

The one thing Hugo’s work lacks is the sentiment (and hope?) of the picture below, with which Ouedraogo closes his portfolio.

The Hell of Copper (L'Enfer du Cuivre). Series: The Hell of Copper. 1800x1200. January-November 2008. Accra, Ghana. © Nyaba Leon Ouedraogo

The other eleven finalists for the Prix Pictet are Christian Als (Denmark); Edward Burtynsky (Canada); Stéphane Couturier (France); Mitch Epstein (US); Chris Jordan (US); Yeondoo Jung (Korea); Vera Lutter (Germany); Taryn Simon (US); Thomas Struth (Germany); Guy Tillim (South Africa); Michael Wolf (Germany). Biographies here.




Friend of Prison Photography, Emiliano Granado, likes football as much as he rocks at photography.

We pooled our knowledge to pair each country competing in South Africa with a photographer of the same nationality.


FRA France  – JR
MEX Mexico – Livia Corona
RSA South Africa – Mikhael Subotzky
URU Uruguay – Martín Batallés


ARG Argentina – Marcos Lopez
GRE Greece – George Georgiou (Born in London to Greek Cypriot parent)
KOR South Korea – Ye Rin Mok
NGA Nigeria – George Osodi


ALG Algeria – Christian Poveda
ENG England – Stephen Gill
SVN Slovenia – Klavdij Sluban (French of Slovenian origin … I know, I know, but you try to find a Slovenia born photographer!)
USA United States – Bruce Davison


AUS Australia – Stephen Dupont
GER Germany – August Sander
GHA Ghana – Philip Kwame Apagya
SRB Serbia – Boogie


CMR Cameroon – Barthélémy Toguo
DEN Denmark – Henrik Knudsen
JPN Japan – Araki
NED Netherlands – Rineke Dijkstra


ITA Italy – Massimo Vitali
NZL New Zealand – Robin Morrison
PAR Paraguay – ?????
SVK Slovakia – Martin Kollar


BRA Brazil – Sebastiao Selgado
CIV Ivory Coast – Ananias Leki Dago
PRK North Korea – Tomas van Houtryve (it was difficult to find a North Korean photographer)
POR Portugal – Joao Pina


CHI Chile – Sergio Larrain
HON Honduras – Daniel Handal
ESP Spain – Alberto García Alix
SUI Switzerland – Jules Spinatsch

Emiliano has been posting images from each of the photographers and doubled up on a few nations where the talent pool is teeming. You can see them all over on his Tumblr account, A PILE OF GEMS


* Don’t even begin arguing about who should represent the USA. It is a never-ending debate.

* I’ll be honest, finding photographers for the African nations was tricky, even for a web-search-dork like myself. But then we knew about the shortcomings of distribution and promotion within the industry, didn’t we?

* For Chile, we had to look to the past legend Larrain. I’ll be grateful if someone suggest a living practitioner.

* North Korean photographer, by name, anyone? We had to fall back on van Houtryve because he got inside the DPR.

* Rineke Dijkstra was one of approximately 4 thousand-trillion dutch photographers who are everywhere.

* Araki was the easy choice. Ill admit – I know next to nothing about Japanese photography (Marc, help?)

* I wanted a few more political photographers in there, while Emiliano goes for arty stuff. I think we found a nice balance overall.

* And, SERIOUSLY, name me a Paraguayan photographer! PLEASE.





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