Conflict has been changed by photography, and photography has been changed by conflict in turn. In the past, images were typically taken by passing photojournalists and circulated by the international news media organisations that employed or commissioned them. While they still exist, nowadays these are increasingly supplemented by citizen documentation of scenes that spread across social media with a greater sense of urgency.

These evolving forms of image-based communications are shaping creative practice too, with projects like Taysir Batniji’s Disruptions placing the live nature of imagery in the centre of the frame.

Amsterdam’s Foam museum is hosting a pop-up exhibition called The Camera as a Weapon, which examines the role of the camera in times of conflict through the work of six artists and groups: Rahib Mroué, Sakir Khader, Émeric Lhuisset, Negin Ahmadi, activist group Equipe Media, and research agency Forensic Architecture.

The exhibition’s name touches on the negative effects of photography amid conflict that are examined in the exhibition, such as disinformation and reinforcing stereotypes. Yet it seeks to illustrate the positive uses of photography, whether that’s generating awareness or capturing evidence.

The museum is also staging a one-day symposium on February 10 that will feature relevant screenings, talks and lectures, promising to tackle topics such as social media, polarisation, and how opinions and action can be dictated by everything from algorithms to photo editors.

Although the show has a short run, Foam will continue to explore these subjects through its ongoing Photography and Conflict programme, which is set to inform the future exhibition programme and other initiatives within the museum.

Against a fraught backdrop within the European culture sector, where many organisations have stymied conversations around conflict in the last six months, the exhibition not only asks ‘What is the role of photography in times of conflict?’, but also examines the role of an arts institution in such times.

The Camera as a Weapon runs at Foam, Amsterdam until February 14; foam.org

Alexander Black, a digital support technician, examines the internals of a machine at Sound Leisure Jukeboxes, which have been manufacturing classic 40s- and 50s-style models for more than four decades from their warehouse in Leeds, 22 August 2023

Photograph: James Glossop for The Times

The captivating image of a polar bear nestled on a small iceberg has clinched the esteemed 2023 Wildlife Photographer of the Year People’s Choice Award. Nima Sarikhani, the talented photographer behind this striking shot, spent three days scouring the Norwegian islands to capture this breathtaking moment.

The winning snapshot: Ice Bed

Sarikhani’s winning entry, aptly titled ‘Ice Bed,’ emerged victorious after a record-breaking 75,000 individuals cast their votes. Speaking about his achievement, Sarikhani expressed his deep gratitude, stating, “I am so honored to have won this year’s People’s Choice award for Wildlife Photography of the Year, the most prestigious wildlife photography competition.” 

He further shared his hope that the image would not only evoke strong emotions but also inspire hope amidst the looming threat of climate change. “There is still time to fix the mess we have caused,” he added poignantly.

Dr. Douglas Gurr, the Director of the Natural History Museum, commended Sarikhani’s work, noting that his photograph beautifully encapsulates both the beauty and fragility of our planet. 

“His thought-provoking image is a stark reminder of the integral bond between an animal and its habitat and serves as a visual representation of the detrimental impacts of climate warming and habitat loss,” remarked Dr. Gurr.

Exploring other remarkable entries

Aside from Sarikhani’s captivating snapshot, other noteworthy submissions showcased the diverse wonders of the natural world. Entries from photographers worldwide flooded the competition’s official platform, offering glimpses into fascinating animal behavior and ecosystems. 

Among these, ‘The Happy Turtle’ by Tzahi Finkelstein and ‘Starling Murmuration’ by Daniel Dencescu garnered commendation for their exceptional quality and storytelling.

Exhibition and beyond

Sarikhani’s winning masterpiece, alongside other standout entries, will be prominently displayed in the Wildlife Photographer of the Year exhibition until June 30 at South Kensington in Central London. 

This exhibition offers visitors a unique opportunity to immerse themselves in the mesmerizing beauty of nature captured through the lens of talented photographers. 

In a world where the impacts of climate change are increasingly evident, Sarikhani’s photograph serves as a poignant reminder of the urgent need to preserve and protect our planet’s delicate ecosystems. 

Through the power of imagery, we are not only moved but also compelled to take action toward safeguarding the natural world for generations to come.

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‘Ice Bed’ by Nima Sarikhani (Image credit: Nima Sarikhani/Wildlife Photographer of the Year)

A striking image of a polar bear sleeping on an iceberg has won the Wildlife Photographer of the Year People’s Choice Award. Captured by amateur British photographer Nima Sarikhani, the dreamy image shows a young polar bear drifting off to sleep on a bed carved into ice.

“Sarikhani’s breathtaking and poignant image allows us to see the beauty and fragility of our planet,” said Natural History Museum director Dr Douglas Gurr.

“His thought-provoking image is a stark reminder of the integral bond between an animal and its habitat and serves as a visual representation of the detrimental impacts of climate warming and habitat loss.”

Sarikhani was able to capture the polar bear in slumber after three days of searching through thick fog off Norway’s Svalbard archipelago. He was on an expedition vessel that changed course after three days to reach a location where there was still ice.

There, Sarikhani spotted two polar bears. “Just before midnight, the young male clambered onto a small iceberg and, using his strong paws, clawed away at it to carve out a bed for himself,” the Natural History Museum, which organises the photography competition, said in a press release.

“I am so honoured to have won this year’s People’s Choice award for WPY, the most prestigious wildlife photography competition. This photograph has stirred strong emotions in many of those who have seen it. Whilst climate change is the biggest challenge we face, I hope that this photograph also inspires hope; there is still time to fix the mess we have caused,” Sarikhani said.

Besides the sleepy polar bear, four other images were “highly commended”.

The Happy Turtle, by Tzahi Finkelstein

Image credit: Tzahi Finkelstein/Wildlife Photographer of the Year

“A Balkan pond turtle shares a moment of peaceful coexistence with a northern banded groundling dragonfly in Israel’s Jezreel Valley.”

Aurora Jellies, by Audun Rikardsen

Image credit: Audun Rikardsen/Wildlife Photographer of the Year

“Moon jellyfish swarm in the cool autumnal waters of a fjord outside Tromsø in northern Norway illuminated by the aurora borealis.”

Starling Murmuration, by Daniel Dencescu

Image credit: Daniel Dencescu/Wildlife Photographer of the Year

“Daniel spent hours following the starlings around the city and suburbs of Rome. Finally, on this cloudless winter’s day, the flock didn’t disappoint, swirling into the shape of a giant bird.”

Shared Parenting, by Mark Boyd

Image credit: Mark Boyd/Wildlife Photographer of the Year

“Early in the morning, Mark watched as these lionesses groomed one of the pride’s five cubs in Kenya’s Maasai Mara.”

In the heart of Mayfair, London, Leica Gallery’s showcase by photographer Nachson Mimran journeys through an array of communities and landscapes in a cultural tapestry of imagery. It’s the first solo show for Mimran – creative executive officer of to.org, a philanthropic collective of creative activists – and explores a key period for the photographer. 

Titled ‘Nachson Mimran: Photographs from the Decade that Changed My Life’, the retrospective starts with imagery from 2016, inviting the viewer to follow the photographic narrative through to 2023. Nachson used his cherished Leica Monochrom cameras to capture diverse landscapes and lifestyles, across Bangladesh, Uganda, Ecuador, Senegal, the Swiss Alps, and more.

An odyssey with Nachson Mimran

The 18 prints curated by Lou Proud of Leica Gallery include intimate family portraits; group photos at refugee settlements; a portrait of  Manari Ushigua, the leader of the Sápara Nation in Naku in the Ecuadorian Amazon; football training in Uganda; and creative activists from Kyebando packing hundreds of waste plastic bags into a bottle to create a bottle brick in Mauritius.

Mimran’s childhood in West Africa inspired a passion for nature and humanity that guides his creative work and is evident in his photography, which simultaneously encourages and inspires solutions for the world’s most pressing climate and humanitarian concerns.

‘I’m honoured to collaborate with Leica on this exhibition, my first solo show, and to be sharing moments captured over the last decade on my treasured Leica Monochrom cameras.’ Said Mimran. ‘I hope that visitors to the exhibition can see my intentional use of art, culture, and creativity as a Trojan horse encouraging conversations about important topics; climate change, displacement, our attitudes to waste, and the Sustainable Development Goals.’

‘Nachson Mimran: Photographs from the Decade that Changed My Life’ is on until 11 February 2024.

Leica Gallery London
64-66 Duke Street, W1K 6JD

to.org

leica-camera.com

Photographer Stephen Wilkes has iconic images that everyone with the gift of eyesight has seen if you’re in the Western world. He’s well known for his landscapes that show places going seamlessly from day to night. Years ago, I purchased Stephen Wilkes Day to Night and received a signature from the great photographer too. I still remember viewing his photos in a large format on a screen. While I still believe that the print is the ultimate way to view a photo, this book does a massive injustice to the great photographer. And if you make the purchase of the book, you probably might never even bother wanting to crack it open and look at it. Though as an investment piece, it’s nice to know that it goes up in price on the secondhand market..

Stephen Wilkes Day to Night starts with a big, multilingual introduction if you’ve got the extra-large edition of the book. The words aren’t of Stephen talking about his work, but instead an introduction to who he is. Admittedly, I really didn’t care to read this section as I just wanted to dive in and stare at the photos with the synonymous excitement of a child looking at a picture book.

First off, you need a big coffee table to appreciate this book. With that in mind, it wouldn’t fair well at many of the tables for two that you see in restaurants. Instead, you’d need two tables put together. Even in the space of my office, I sat here struggling to give this book the real estate space that it’s wrongfully demanding. That sentence was worded with the utmost intention because the layout design is deplorable. While paging through Stephen Wilkes Day to Night, I tried concentrating on the sound of my own meditative breath to hush the voice in my head that tells me to throw this book in the trash or rip the pages out and frame them for myself.

The layout violates a major rule of photography books: don’t split a photo down the middle of the book fold. It does this many times, in fact. As I paged through, I felt more frustration than I did awe from the book. Sometimes you’ll get a single page showcasing a single image. But more often than not, it splits photos between two pages — which completely ruins the image in the equivalent way of bending or folding a print.

The paper is also quite a bit on the shiny side of the luster variety. So if you’re viewing this book, make sure that it’s lit from the top of the book and that it’s elevated to soften the light and prevent reflections. I wouldn’t recommend reading it with side lighting and no direct lighting, either.

Stephen Wilkes Day to Night is heartbreaking mostly because his images are often ruined by the fold that I speak of. But that’s not all. It’s made even more heartbreaking when you zoom in on the details with a loupe or a magnifying glass. You can tell the Stephen gave incredibly sharp and well-detailed images for the print job. But instead of preserving the print, it’s handed to you like some uninterested intern who knew nothing about prints decided to fold it up and put it in their messenger bag to simply fulfill a purpose. It’s worth wanting to scream as Wilkes’ images are masterpieces that sometimes blend day and night so well that you can’t really tell that it’s happening.

And I found myself very frustrated and needing to constantly interact with the book instead of just having my eyes pour over the images distraction-free.

This book is ultimately a disappointment, and a great example of what not do with prints ever.

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