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Pulitzer Winner Warns News ‘Losing to Kittens and Boobs’

Sergey Ponomarev took his now famous design of a vessel of Syrian refugees grapnel to a Greek island seaside on Nov. 16, 2015. Many boats werelanding there at the time — on some days, adult to 50 would arrive from Turkey. The majority were inflatable rubber dinghies, though some of the boats were wooden, and you could always tell that the refugees elite to have a wooden boat.

Ponomarev was there to photograph the landings for The New York Times.

See a Photo Gallery: Russia’s Ponomarev Scoops Prestigious Pulitzer Prize

“Every day, prolonged before sunrise, we would go to the beach. There was a hill there; we climbed it with my binoculars and watched the horizon, watchful for the initial boats to arrive,” Ponomarev recalls. “We would mostly spend the whole day on the beach, going from boat to boat. The boat from the design was one of them.”

From the beaches in Greece, Ponomarev followed the refugees to Macedonia, Serbia, Hungary, Slovenia, all the way to European countries where they would find asylum. Off and on, he would spend 5 months operative on this project.

Exactly 5 months after Ponomarev took his iconic picture, he won the most desired journalistic endowment in the world — the Pulitzer Prize. “It’s unequivocally something. we suspect it means that this final year we did good,” he told The Moscow Times.

Refugees wait in line for documents in Presevo, Serbia in August 2015. “I followed them all the way to Europe,” Sergey Ponomarev said.

Ponomarev says he is encouraged above all by a enterprise to bridge the gap that people deliver between themselves and human tragedies elsewhere in the world.

“I wish to show that the world is most bigger than an apartment or an office,” he says, “and that at any given notation there are people vital lives distant worse than the own.”

The Road to Pulitzer

Ponomarev, 35, is the third Russian photographer to have won the Pulitzer Prize. The significance of the endowment is not, apparently, mislaid on him. Throughoutour interview, the photographer is interrupted by dozens of messages and emails congratulating him on the victory. “Wow,” he says at one point, “I usually perceived a message from James Nachtwey. The great James Nachtwey!”

Nachtwey, the world famous fight photographer, had in fact praised Ponomarev’s skills to The Moscow Times before the interview. “Sergey’s visible notice operates at a really high level. He has the ability to organize what he perceives in a compelling, formidable demeanour regulating the full operation of photographic wording with good mastery,” Nachtwey said.

Ponomarev’s trail to Pulitzer took him by wars, dispute zones and tragedies.

He worked in the Russian city of Beslan in 2004, where terrorists pounded a school and held dozens of children hostage. He lonesome “Nord-Ost,” another Russian warrant predicament in 2002, when terrorists pounded theater-goers in Moscow. He documented atrocities in the war-torn Gaza frame in Palestine, series in Libya, the Maidan protests in Ukraine, and military clashes in eastern Ukraine and Syria.

However, Ponomarev refuses to define himself as usually a war photographer. “You competence consider of me as such given there’s a picture of me wearing a bulletproof vest on my website,” he says with a laugh.

In Moscow, Sergey Ponomarev mostly lonesome protests and rallies, including the notorious one on May 6, 2012 that finished in violence and multiple arrests.

“But we see my purpose as simply building stories that are meant to disturb the world.”

He is a frequent writer to The New York Times, that he says is now his “most active” operative partnership. Previously he worked for nine years as a staff photographer at the Associated Press news organisation and contributed to Russian outlets including the Kommersant journal and Gazeta.ru.

“The media in Russia has altered a lot given then,” he says. “The immeasurable infancy have mislaid their autonomy and are now on one or the other side of the fence. we cite to work for outlets that are some-more independent.”

Ponomarev is propitious to partner with a newspaper like The New York Times, says another shining Russian fight photographer, the multi-award-winning Yury Kozyrev. “It is good that they give photographers time and resources to pursue critical stories, like the refugee story,” he told The Moscow Times. “Its singular these days, and not usually in Russia, though the whole world.”

Competing With Kittens

“People see the world by the eyes,” says Ponomarev. “I attended a conference on refugees once. The speakers were all about numbers and statistics, and I could tell no one there had ever seen these refugees. My debate was the last one that day — and the photographs we showed simply bowled the audience over.” Photography is a universal storytelling language, he says. “People don’t need to know a foreign denunciation to understand photographs.”

Arguably, photography is losing the energy to change the course of events. No longer can it stop a war like it could in the 1960s and 1970s, says Ponomarev.

The punk stone criticism organisation Pussy Riot behaving in the Christ the Savior Cathedral in 2012. Two members were condemned to two years in prison.

Then, the whole universe was jarred by Nick Ut’s design of a exposed lady using from a napalm conflict in Vietnam, and by Eddie Adams’ design of a military arch executing a young male in the travel in war-torn Saigon.

“Those bomb images done multitude direct an end to the war,” he says. “Now critical photographs with bloody or aroused scenes are dark behind age restrictions and notes that supportive people shouldn’t demeanour at them. They don’t startle people as much.”

Occasionally, multitude is changed to act. Images of a drowned three-year-old Syrian child cleared adult on a Turkish beach caused open cheer opposite the world.

It stirred exhilarated contention and divisions inside the professional village as to whether such unfortunate images should be published. “Personally I’m opposite all these restrictions,” Ponomarev says.

“The some-more people see injustice, the more they are peaceful to change it,” he adds.

The other vital hazard for serious photographers is the increasing conflict for visual courtesy with light entertainment.

“We are losing the battle with kittens and boobs,” the photographer concedes. “But I’m certain we won’t remove in the end — kittens and easy visible pleasures competence be constants, though we are always entrance adult with something new.” 

Article source: http://www.themoscowtimes.com/article/566836.html