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Surf Photographers, It’s 2023: Please Stop Objectifying Women’s Bodies

Surf Photographers, It’s 2023: Please Stop Objectifying Women’s Bodies
Surf Photographers, It's 2023: Please Stop Objectifying Women's Bodies

The female form is beautiful, but best captured in motion. Like on a wave. Photo: Ella Boyd


The Inertia

It’s 2023. Women get barreled at Pipeline, charge at The Eddie, perform on the Championship Tour, and do airs. But for whatever reason, it seems like the desire to objectify, and therefore reduce women to their looks as opposed to what they can do in the water, has persisted. 

Specifically, the desire to photograph, portray, and sell images of women in demeaning and sexual lights, especially on social media, has spiked as of late. Yes, male photographers have historically risen to fame by capitalizing on gender cliches, but surf photography isn’t commercial or fashion photography, so this wouldn’t happen, right? 

Unfortunately, surf photography is not immune to certain photographers attempting to up their earnings by photographing women in scantily-clad outfits in sexual positions, sometimes on the beach, sometimes nowhere even close. 

I won’t draw attention to specific names, because I’m not interested in pointing fingers. This is a theme across the industry. And if you follow enough surf photogs, you’ve definitely noticed it. Artists who post beautiful photos of noseriding and empty waves will also post photos of female models seductively gazing at the camera, fingers pulling off their bra strap, lying near the shorebreak. 

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Then, to make matters worse, these accounts ask viewers to pay more money to see the real, 18-plus content (often on Patreon or similar platforms). If this sounds like porn, that’s because it is. Asking people to pay money for adult content is not something that should be considered surf or water photography (or even adjacent). 

An important disclaimer here is that I’m not claiming it is wrong for women to want to be portrayed in sexual or promiscuous ways. In fact, women should be free to dress and act however they want without stigma attached to it. But, when male photographers are profiting off selling women’s images in ways that appeal to the male gaze, this becomes an issue for other women in surf culture who do not wish for women to be subjected to objectification or judged solely on their appearances. 

Women have worked hard to get sponsorships in the industry (something that was historically always more difficult than their male counterparts). Take Linda Davoli, for example: her Encyclopedia of Surfing entry reads: “Davoli moved to Hawaii in 1975, and two years later competed in the debut women’s world circuit, finishing fifth for the season. Over the next three years, she placed, in order, 4th, 4th, and 3rd, and in 1981 she won the Bells Beach Rip Curl Pro. Even so, as Davoli later said, ‘I was sleeping on people’s couches, living on peanut butter and jelly. I was poor all the time and that’s kinda the reason why I gave it up.’” 

Her experience was not uncommon among professional female surfers, and that’s what makes the modern-day exploitation of women’s bodies in surf media so upsetting. There are plenty of women in the surf industry who are phenomenal subjects: Carissa Moore, Stephanie Gilmore, Soleil Errico… not only because they’re fit and beautiful and everything else that comes with the aesthetic ideals of surfing, but because they rip! Why photograph women who don’t surf, and then use these sexual images to promote “surf” content? It’s a cheap way to get views, it’s tacky, and it’s unethical. 

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Stephanie Gilmore, as photogenic as ever. Photo: Courtesy Apple TV

To be clear: I am critiquing one small aspect of surf media here, not surfing itself. Because surfing, as a culture, is not more sexist than Western culture at large. In fact, surf culture is pretty inclusive, as groups of people go. No matter if you believe surfing began in Hawaii or Peru, women were at the forefront of wave riding activities. Tracing all the way back to ancient Polynesia, women surfed gracefully and were praised for their wave-riding abilities. Surfing was a religious practice, and it was for everyone. 

This is not to say there weren’t certain… less than stellar moments in surf history concerning women’s involvement. But all of history has its black spots: women couldn’t even vote until 1920, and Title IX, or the law concerning women’s right to receive a fair and equal education, wasn’t signed by Nixon until 1972! Women were surfing long before being allowed to pursue the same academic and athletic opportunities as men. 

Oftentimes, male photographers excuse this harmful behavior by claiming that they are making women feel beautiful, or raising women’s self esteem up by showing them their own good looks. But at the end of the day, even if the goal is to “make women feel better,” it’s to make them feel better about their looks. Are looks really the only important thing? Are looks a way to build lasting confidence and self-esteem? Do looks really have anything to do with surfing? 

Also, note who these photographers are choosing to “lift up.” If you want to raise people’s self-esteem, why choose the most conventionally attractive women to highlight? It’s because you’re not interested in doing charity work for the greater good of society. Photographing attractive young women who fit the beauty standards is something you are doing for your own personal pleasure and financial gain. And it is harming all the people who aren’t benefitting, while only benefitting the male photographer. One, singular person. By any ethical standards, this is a pretty poor trade-off. 

Surfing doesn’t need more corruption and violence, and sexism promotes both of those themes. And if you think, “well, it’s just a few pictures. How bad could it be?” In a psychology journal-published research article by Manuela Barreto and David Matthew Doyle titled “Benevolent and hostile sexism in a shifting global context,” the authors explain that “sexism takes different forms, some of which can be disguised as protection and flattery.” 

In this case, let’s be clear: by photographing women in sexual, objectified, and vulnerable positions, you are not flattering anyone. And it’s definitely not impressing your audience who followed you to see surf photography. 

Surfing, and many of the values it represents (open-mindedness, exploration, appreciation for nature) can change the world. Let’s keep it that way: we don’t need more affiliation with sexism. 

Integrated Marketing Communications grad’s handcrafted work is getting noticed – School of Journalism and New Media

Integrated Marketing Communications grad’s handcrafted work is getting noticed – School of Journalism and New Media

IMC graduate Shelby Toole with her pottery.

When Shelby Toole entered the University of Mississippi as an integrated marketing communications major, she never expected to become a potter. She took pottery classes during college and fell in love with the craft.

Now, after expanding into other creative areas, her jewelry is being noticed by others in the spotlight. Erin Napier, of HGTV’s “Hometown,” posted a photo of a pair of her ceramic earrings on Instagram.

After graduating and attending graduate school for her master’s degree in IMC, Toole began teaching pottery at the local community center before starting her own business.

“I started taking pottery classes as a freshmen at Ole Miss, and I just fell in love with it,” she said. “I took it every semester, and it was kind of like of my therapy. In grad school, I started teaching at the community center, but when COVID hit, classes died down.”

Her love for pottery eventually turned from a passion into a business. Toole describes SJ Ceramic Company as: “Functional pottery and personal enjoyment. It isn’t a brand or business. I picture my work as my art…I like taking a piece of pottery, and letting it slow people down, and letting it invite people in to take in the day.”

IMC graduate Shelby Toole with her pottery.

IMC graduate Shelby Toole with her pottery.

SJ Ceramic Company, (SJ stands for Soul Joy), started in 2019 and has largely been run through online stores and social media platforms like Etsy and Instagram, but she also sets up booths in local and state art festivals. The majority of pieces Toole makes are personalized commissions customers can request.

The company is largely a one-woman business. “It’s just me, but I ask my sister to help me with the miscellaneous work,” she said.

Running a one-person business can be stressful, but Toole sees it as a method of expression. “In the big picture, it’s a business, but at the center (the art) is the heart of it,” she said.

Toole said she sometimes becomes creatively blocked when she is involved in large shows or has large orders. “It’s easy to get in production mode and have to remind myself to do something fun,” she said.

For Toole, the best way to overcome a creative block is to avoid putting pressure on yourself, step away, and do something you enjoy. Some of her biggest inspirations are artists Keith Haring, Adam Trest, and Walter Anderson. She is influenced by their use of movement, abstract shapes, nature scenes and vivid colors.

One of the biggest struggles with running SJ Ceramics Company is monitoring inventory. Though actually making the pieces is exciting, displaying and advertising the finished product can be tedious and tiresome.

“Even though I have a master’s for (marketing)…the online aspect can be heavy because there’s a lot that goes into selling a product and showing it off,” she said.

Everyone wants to do what they love for a living, but that doesn’t mean we love every part of what we do.

“(Glazing) is my least favorite part of the process,” she said. “It can sometimes be the most intimidating because I’m overwhelmed with all the options.”

Once a piece is made, it is the only one in existence, which gives the customer something that truly belongs only to them. The company produces many products, from plates, cups, and pots to earrings and necklaces, all hand-made from porcelain. All earrings are made with a form of 14k gold.

Toole loves to create jewelry, cups, plates. Her life motto, “drink well,” which means to take in life and all that it offers, is part of her art. Her cups and mugs often have this message abstractly carved into them, connecting message, art and functionality.

Though SJ Ceramics Company is primarily run by Toole, her biggest helper and supporter is her sister Kellie Bickes, who helps with marketing, product assembly, and often travels with her to art shows and festivals throughout the state.

“I was very excited for her because she was always very artistic growing up,” Bickes said. “I would describe her art as very organic. Everything’s bright and happy and makes you want to gather with friends and family. They’re always good pieces to have in your home; they’re all very inviting.”

For those who wish to have their own Shelby Toole creation and support SJ Ceramics Company, they can be found on Etsy under SJ Ceramics Company and at the upcoming Double Decker Arts Festival April 28 – 29.

This story was written by student Taylor Rogers.

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Abenaki artist and film-maker Alanis Obomsawin’s remarkable career comes into focus at the Vancouver Art Gallery

Abenaki artist and film-maker Alanis Obomsawin’s remarkable career comes into focus at the Vancouver Art Gallery

An exhibition at the Vancouver Art Gallery (VAG) surveying the work of 90-year-old First Nations film-maker, artist, musician and activist Alanis Obomsawin features new archival material that illuminates the work of one of Canada’s national treasures.

According to the VAG, The Children Have to Hear Another Story (until 7 August)—the first exhibition to survey the work of the iconic Abenaki film-maker—includes many materials that have never been publicly displayed before, or not since they were first shown. The exhibition, curated by Richard William Hill and Hila Peleg, spans five decades of Obomsawin’s trail-blazing career. It also offers ephemera, rare works and scripts from both Canada’s National Film Board (NFB), where she’s been a producer for decades, and Obomsawin’s personal archive. The exhibition was on view last year at the Haus der Kulturen del Welt in Berlin and this is its first Canadian iteration (it will travel to the Art Museum at the University of Toronto later this year).

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Alanis Obomsawin, Mother of Many Children, 1977 (still), 16 mm film, colour, sound, 28 min Courtesy National Film Board of Canada

At the VAG, the show includes a new 24-minute film that Obomsawin made about the life and work of Bill Reid, the renowned Haida artist, during the pandemic. Obomsawin was one of the first Indigenous filmmakers to insist on allowing Native subjects to speak for themselves—rather than being mere objects of the colonial “voice of God” narrative. Fittingly, the film juxtaposes Reid’s deep, rich baritone—who worked for years as a radio announcer—with photos from his childhood in Victoria, British Columbia (where he attended a kindergarten run by Emily Carr’s sister), footage of 1970s protests and images from his career as a master carver, goldsmith and sculptor.

During an event at the VAG last week, Obomsawin said it was “very moving” for her to rediscover audio of a conversation she had with Reid in the 1980s during her audit of her archive. The exhibition also features a portrait mask of Obomsawin that Reid fashioned in the 1970s, on loan from the Museum of Anthropology at the University of British Columbia. The two were close friends and Reid often referred to Obomsawin as the “Montreal lady”. Both artists negotiated two worlds amid heightened North American awareness of its First Peoples and their cultures; the film, like the exhibition, not only documents indigeneity in art but also a key half-century in Canadian history.

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Alanis Obomsawin at Mariposa Rock Festival, 1970 Courtesy York University Libraries, Clara Thomas Archives & Special Collections, Toronto Telegram fonds, ASC05824

Born in Lebanon, New Hampshire, in 1932, Obomsawin spent some of her childhood on the Abenaki First Nations reserve in Odanak, Québec and much of it in Trois-Rivieres, where she avoided residential school but endured racist bullying from her fellow students. The young Obomsawin sought solace in her dream world, where magical animals appeared to her as talismanic companion and protectors. The exhibition opens with a selection of her paintings of these fantastical creatures from the 1990s as well as an autobiographical film, When All the Leaves Are Gone (2010), evoking the era when a 12-year-old Obomsawin, already steeped in Indigenous lore, had an epiphany that shaped her life and career.

“I thought that if the children could hear the stories I hear, maybe they would be behaving differently,” Obomsawin is quoted saying in the exhibition catalogue. This idea became a driving force in a career that married art, activism and education. It began with teaching boy scouts about Indigenous culture and included a stint as a model, time as a recording artist singing traditional songs and decades of making films about First Nations issues. Her best-known work, Kanehsatake: 270 Years of Resistance (1993), which she shot from behind the barbed wire during the Oka Crisis of 1990—a 78-day standoff between Mohawks protesting appropriation of their territory and the police and Canadian army—plays in the section of the exhibition devoted to the 1990s alongside extensive television footage of her own struggle to survive the gruelling siege with a skeleton crew and copies of letters demanding that police return her mobile phone.

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Alanis Obomsawin, Trick or Treaty?, 2014 (still), video, colour, sound, 85 min Courtesy National Film Board of Canada

An earlier work. Incident at Restigouche (1984), chronicles police violence against Mi’kmaq fishermen in 1981 and is shown alongside correspondence from the NFB initially instructing her not to interview any government ministers—only First Nations individuals. In the end, her interview with the Minister of Fisheries became one of the film’s most powerful moments. In the same section, the film Richard Cardinal: Cry from a Diary of a Métis Child (1986), about the suicide of a teenager in foster care that galvanised the fight for Indigenous autonomy over social services, plays next to related ephemera. Around the corner, powerful etchings by Obomsawin of First Nations women and their children read like Indigenous pietas.

The exhibition is invaluable both as a survey of Obomsawin’s oeuvre and as a chronicle of the shifting public image of First Nations peoples in Canada. Richard Hill, the show’s co-curator, said its Berlin iteration had addressed certain German “romanticisations of Indigenous people”, but that “here in Canada, we have different problems”. Looking onto the steps of the VAG—where a makeshift shrine to Indigenous children who died at residential schools has been in place since 2021—he added, “We’re still in the middle of the conversations Alanis has been having for decades.”

Sony’s World Photography Awards winners revealed

Sony’s World Photography Awards winners revealed

Hugh Kinsella Cunningham was named the winner of the documentary projects for his series “The Women’s Peace Movement in Congo”

Peace activist Liberata Buratwa poses for a portrait in her garden. Rutshuru, Rutshuru Territory, North Kivu Province, DRC, May 31st 2022.

“I have been working for peace since I was very young, she says. In 2008, at the height of a spate of massacres, Liberata led a delegation of women to meet Laurent Nkunda, the leader of CNDP. We told him, my son, rebellion will lead you nowhere, the bush is for the animals, not for the people.”

‘Powerful, personal’ tribute to slain journalist claims top photography prize

‘Powerful, personal’ tribute to slain journalist claims top photography prize

Written by Oscar Holland, CNN

A photographer’s moving tribute to a friend killed in the 2011 Libyan Civil War has earned him the top prize at the prestigious Sony World Photography Awards, organizers announced Thursday.

Edgar Martins was named Photographer of the Year 2023 for his series “Our War,” a collection of portraits featuring Libyan subjects who resembled (or reminded him of) the late Anton Hammerl, a photojournalist shot while covering the conflict.

In a statement, Martins said receiving the $25,000 prize was “very humbling.” He described it as “quite an emotional experience because I get to honor my friend on a world stage and bring attention to the family’s plight to find his remains.”

“Our War” came about after the Portuguese photographer’s attempts to recover his friend’s body led him to Libya with the help of a smuggler. Instability in the country made his search unfeasible, so Martins instead decided to capture portraits of people who had been involved in the war.

A portrait from Edgar Martins’ winning series “Our War.” Credit: Edgar Martins

His subjects were selected because they either physically looked like Hammerl, who was killed by troops loyal to former dictator Moammar Gadhafi, or because they “had similar ideas and beliefs, or reminded Martins of him at different stages of their friendship,” according to a press release from the awards’ organizers, the World Photography Organisation.

The resulting images span former fighters and civilians from both sides of the eight-month conflict that saw Gadhafi overthrown by anti-government rebels.

In a statement, prize chair Mike Trow described the project as a “powerful, personal set of portraits,” adding: “(Martins’) work highlights the lengths photographers will go to tell a story and create meaning; each image giving a sense of the journey Anton took without ever being explicit about how his life ended.”

Martins was selected from the winners of the annual awards’ 10 professional categories, which span topics from sport and landscape to the environment. Now in its 16th year, the awards attracted more than 415,000 entries in 2023, with over 180,000 of them eligible for professional categories. Organizers said this year’s competition had seen the highest number of entries in its history.

Winners of other professional categories included Chinese photographer Fan Li, recognized for his images of an abandoned cement factory; the UK’s Hugh Kinsella Cunningham, who documented the work of women’s rights activists in the Democratic Republic of Congo; and US photographer Al Bello, for his series on the first female baseball player to play in an all-male professional league.

Organizers also announced the winners of several other prizes Thursday, with photographers in the student and youth competitions among those honored. An inaugural Sustainability Prize, meanwhile, recognized the work of environmental photographer Alessandro Cinque.

Scroll through the gallery above to see a selection of images from the winners of 2023’s Sony World Photography Awards. An accompanying exhibition is showing at London’s Somerset House until May 1, 2023.

Sony World Photography Awards 2023: from concrete ruins to sustainability action

Sony World Photography Awards 2023: from concrete ruins to sustainability action

Announced today, the Sony World Photography Awards 2023 aim to captivate and enthral, highlighting the art of a range of individuals working in the field – from seasoned professionals to emerging names and students. Produced by the World Photography Organisation, the prestigious competition, now in its 16th year, was conceived as a free-to-enter event to celebrate imagination, innovation, creativity and the world’s most influential artists in the global photography scene. 

As part of the reveal, acclaimed Portuguese photographer Edgar Martins scooped the Photographer of the Year title, for his series Our War, ‘an homage to Martins’ friend, photojournalist Anton Hammerl, who was killed during the Libyan Civil War in 2011’. 

The artist said: ‘It is a huge honour to be recognised and although I am philosophical about awards and the subjective nature of someone’s choice, knowing that there were over 180,000 entries to this year’s Professional competition is very humbling. In this case, it is also quite an emotional experience because I get to honour my friend on a world stage and bring attention to the family’s plight to find his remains. There’s no award that has the reach of the Sony World Photography Awards.’

Fan Li, China Mainland, Winner, Professional competition, Architecture & Design, Sony World Photography Awards 2023 (1)

Fan Li, China Mainland, Winner, Professional competition, Architecture & Design, Sony World Photography Awards 2023

(Image credit: Fan Li)

Sony World Photography Awards 2023: Architecture & Design

Among the Sony World Photography Awards 2023 gongs is the Architecture & Design category, which this year saw Fan Li from China crowned top winner, for his series ‘Cement Factory’. Runners-up Servaas Van Belle from Belgium and Andres Gallardo Albajar from Spain took the second and third places respectively. 

The Professional section also includes categories for creative; documentary projects; environment; landscape portfolio; portraiture; sport; still life; and wildlife & nature. All category winners receive Sony’s digital imaging kit. 

Alessandro Cinque, Italy, Winner, Sustainability Prize, Professional competition, Documentary Projects, Sony World Photography Awards 2023 (2)

Alessandro Cinque, Italy, Winner, Sustainability Prize, Professional competition, Documentary Projects, Sony World Photography Awards 2023

(Image credit: Alessandro Cinque)

More areas of the competition are Open Photography, which is open to non-professionals underlining the power of a single image (and went to Mexican Dinorah Graue Obscura); and Student Photography, flagging up the dynamism and potential of emerging voices in the field (won by Long Jing of the Yunnan Arts University, China). 

Separate from the latter is the Young Photographer category, which revealed its winner to be 17-year-old Hai Wang, who commented: ‘I appreciate all the attention and support the public gives to global teenage photographers. As a member of this age group, I can say that we are trying to make a change throughout the world in a brand-new way, to try not to waste a single second of our lives.’ 

Alessandro Cinque, Italy, Winner, Sustainability Prize, Professional competition, Documentary Projects, Sony World Photography Awards 2023 (2)

Alessandro Cinque, Italy, Winner, Sustainability Prize, Professional competition, Documentary Projects, Sony World Photography Awards 2023

(Image credit: Alessandro Cinque)

A new section, the Sustainability Prize, was introduced this year, highlighting awareness of the climate crisis. Italian Alessandro Cinque, the winner, focuses on fog nets and the way they are used to capture moisture for local residents in Lima, Peru, helping to tackle chronic water shortages. 

Meanwhile, Rinko Kawauchi was acknowledged through an Outstanding Contribution to Photography prize. 

Hai Wang, China Mainland, Youth Photographer of the Year, Youth competition, Sony World Photography Awards 2023

Hai Wang, China Mainland, Youth Photographer of the Year, Youth competition, Sony World Photography Awards 2023

(Image credit: Hai Wang)

The winners’ announcement was made today (13 April 2023) at a dedicated ceremony in London’s Somerset House. Launching at the same time is the Sony World Photography Awards 2023 exhibition on site, which will run from 14 April – 1 May 2023. 

worldphoto.org (opens in new tab) 

Portraits paying homage to journalist killed in Libya wins Sony Photography Awards 2023

Portraits paying homage to journalist killed in Libya wins Sony Photography Awards 2023

A series of portraits paying homage to late photojournalist Anton Hammerl, who was killed during the 2011 Libyan Civil War, have won the top prize at the Sony Photography Awards 2023.

Edgar Martins was named Photographer of the Year with his collection titled Our War.

The prestigious awards, organised in collaboration with the World Photography Organisation, announced this year’s winners at a gala in London earlier this week.

Martins won the competition’s overall grand prize, including $25,000 and a range of Sony photography equipment.

His work took him to Libya in an attempt to find his friend’s remains after he was killed by Libyan militia. He was brought in covertly by a petrol smuggler and due to volatile conditions, soon realised he would not be able to carry out a thorough investigation. Instead, he used photography to “tell a story without witness, testimony, evidence or subject”.

“It is a huge honour to be recognised and although I am philosophical about awards and the subjective nature of someone’s choice, knowing that there were over 180,000 entries to this year’s Professional competition, is very humbling,” Martins said. “In this case, it is also quite an emotional experience because I get to honour my friend on a world stage and bring attention to the family’s plight to find his remains. There’s no award that has the reach of the Sony World Photography Awards.”

Martins was selected from 10 category winners of the Professional competition, who were also announced at the gala, alongside the overall winners of the awards’ Open, Youth and Student competitions.

Alessandro Cinque, from Italy, was announced as the first winner of the Sustainability Prize, developed in collaboration with the United Nations Foundation and Sony’s Picture This initiative. The $5,000 prize recognises the stories, people and organisations whose actions highlight one of the UN’s environmental Sustainable Development Goals.

Full list of award winners

Architecture & Design

Winner: Fan Li (China Mainland) for his series Cement Factory

Creative

Winner: Lee-Ann Olwage (South Africa) for her series The Right to Play

Documentary Projects

Winner: Hugh Kinsella Cunningham (United Kingdom) for his series The Women’s Peace Movement in Congo

Environment

Winners: Marisol Mendez (Bolivia) & Federico Kaplan (Argentina) for their series Miruku

Landscape

Winner: Kacper Kowalski (Poland) for his series Event Horizon

Portfolio

Winner: James Deavin (United Kingdom) for his submission Portfolio

Portraiture

Winner: Edgar Martins (Portugal) for his series Our War

Sport

Winner: Al Bello (United States) for his series Female Pro Baseball Player Succeeds in All Male Pro League

Still Life

Winner: Kechun Zhang (China Mainland) for his series The Sky Garden

Wildlife & Nature

Winner: Corey Arnold (United States) for his series Cities Gone Wild

The Sony World Photography Awards 2023 exhibition, featuring works from the main category winners and shortlisted photographers, opens at Somerset House, London, on Friday and runs until May 1

Updated: April 13, 2023, 10:00 PM