Stories

Everyone loves a good story.

Stories are at the heart of our social and cultural heritage. No matter where we’re from, we all grow up listening to stories and passing them on. They’re an intrinsic part of the social landscape; from religious beliefs and dogma to popular culture and art, stories are at the core of human communication. And when it comes to sharing important information, storytelling is one of the most useful and powerful tools we have.

When we share images online we tell stories. We’re sharing our experiences with the world through a visual narrative. For example the images below from a weekend spent sailing with old friends earlier this year. The images combine to offer a short story that describes the experience.

 
 

Many stories follow a tried and tested formula and are intended to inform, educate, or entertain. They often depict journeys as metaphores for transformation or personal development. Not all stories are complete however, just as not all stories carry a responsibility to take a moral stance or make the world a better place. Some are simple tools that deliver a simple message, as in advertising or promotion, and it’s the means of that delivery - the story - that help the message succeed in finding its target. Of course the better the story, the more likely people are to remember it.

The most successful advertising campaigns often rely on comical or emotive narratives in order to engage their audience in this way. Similarly, company websites, marketing and promotional materials, even annual reports or promotional brochures all employ a visual narrative in order to get people’s attention and deliver their message.

Storytelling using stills images can take many forms: it can be a single, compelling image or a series of images taken over a period of time. A small collection of images can be used to showcase a process, a practice, or a product. No matter how simple or complex the narrative, photographic images provide an invaluable means of reaching your target audience.

Stories aren’t necessarily conclusive, they can be open-ended and form a small part of a wider, on-going narrative. For example the images below of skateboarders at the Undercroft at London’s Southbank Center don’t tell the complete story of urban skateboarding subculture; what they do is present a snapshot of that subculture, part of a much wider, on-going narrative.

 
 

Sometimes all it takes is a few images that represent an action or a process. I recently took an antique clock for repair and the small, atmospheric shop was so photogenic that I asked if I could take a few pictures when I came to collect it. The pictures tell a little story about the craftsman in his workshop. These pictures don’t offer a complete story, but there are details in them that provide clues which prompt us to develop our own interpretation.

 
 

Other stories of course carry a much greater responsibility. There is an established tradition of documentary photography which carries an implicit duty to represent its subject matter with honesty and integrity. The stories that I’ve tried to tell through my own work have been made as honestly as possible, with empathy and respect for my subjects.

There are instances where visual storytelling is by necessity more representative than actual documentary. For an awareness campaign highlighting real lived experiences of young people facing issues of homelessness the charity I was working with, CentrePoint hired young models to portray the true stories being depicted, in order to protect the privacy of the people behind them. While the resulting images could be interpreted as less than authentic, they nevertheless communicate a very real truth. Protecting people’s identities in this way shouldn’t detract from their stories.

 
 

As a photographer, my interest has always been in telling stories. Even when I’m taking corporate headshots, making environmental portraits or photographing food or product, I believe there is always an element of storytelling involved. It is, in my opinion, implicit in the very nature of photography.

If you want me to help tell your story, please get in touch.

Africa's Forgotten War

 
 

When I first started out as a freelance photographer I was keen to return to an area I had been to previously during a trip through Africa I made when I was in my twenties.  At the time I knew nothing of Western Sahara or the Polisario Front, but as I started to develop an interest in documentary photography and visual storytelling I wanted to explore the issue in more detail, so in 2007 I returned to the area in South West Algeria where Saharaoui refugees have made their home since their Moroccan enforced exile.

Since 1976 the Polisario Front, the government-in-exile of the Saharaoui fighting for self-determination of the Western Sahara, has been at war with Morocco.  The former Spanish colony was annexed by Morocco after the former colonial power left in 1975. It was later sealed off by a heavily guarded wall built by the Moroccans known as the Berm, stretching the length of the border between Occupied Western Sahara and the Polisario controlled liberated territories.

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Since a UN-brokered ceasefire in 1991, Polisario soldiers, young and old, perform field exercises and scout Moroccan positions in the mine-ridden no man's land.  There are an estimated three million landmines and unexploded ordnance littering the former frontline resulting in many casualties and deaths every year among nomadic Berber livestock herders and Saharaoui.

 
 

Meanwhile, refugees from the Western Sahara who fled the conflict have been subsisting in dusty camps in neighbouring Algeria, Polisario's main ally, who have closed their border with Morocco.

Polisario estimates there are 170,000 refugees in the camps in South Western Algeria who rely on international aid, distributed by the United Nations.  Despite daily hardships the refugee camps are well-organised: women's rights are widely respected, literacy is above 90%, and many children go on to study at universities abroad.  A fragile ceasefire exists but tensions are high.  Saharaoui who remain in the occupied territories are subject to police discrimination, detention and regularly report incidents of human rights abuses.

I lived with Polisario soldiers in the desert and was able to travel with them to locations where they carried out military training and operations.  I also met some incredible people working with Landmine Action who were training local Saharaoui to clear mines from what is still one of the world's heaviest land-mined areas.

To see the picture gallery I shot for the BBC, click here

For more information on Western Sahara check out the amazing work being carried out by Sandblast

Cuban Rap

 

Towards the end of 2014 United States President Obama announced that America would restore full diplomatic relations with Cuba, more than 50 years after President Eisenhower imposed a trade embargo on Cuban exports during the cold war.   What this means for the future of Cuba is uncertain, but it will no doubt mean that a big change is on its way.  

Cuba and the US have had a long-standing love/hate relationship but in it's cultural heritage, especially through music, Cuba has managed to bridge any divisions and reach a truly international, even global audience.

When you think of Cuban music, you think of the wealth of fantastic talent that has come out of Cuba over the years - artists like Willie Colon, Celia Cruz, Irakere and Buena Vista Social Club.  Nowadays, there is a big Reggaeton scene in Cuba (as there is elsewhere in Latin America) but what many people don't associate with the island is a flourishing Rap and Hip Hop scene.  Perhaps typical of Cuba, this American import has been enthusiastically adopted by Cubans and is steadily increasing in popularity.  In 2002 the Cuban government recognised the significance of the Rap music scene and even provided a degree of endorsement through a Ministry of Culture sponsored record label to promote local artists.

However, not all Cuban Rap artists are so enthusiastic about what they see as the State sponsored, somewhat sanitised version of their art form.  Alongside the officially recognised Rap scene there exists a slightly more subversive, slightly more critical scene.  Ironically, a lot of the artists aren't anti Castro or anti communist, but simply critical of the state and its methods of control.

Some years ago I travelled to Cuba with Zoë Murphy and we produced a picture slideshow for the BBC about the underground Rap Music scene.