Photographs have the power to change the world. They can topple governments, change controversial laws, start protests, and collectively haunt our consciousness, pushing us to do the right thing. It’s why photographers, especially in the documentary and photojournalism spheres, are tasked with immense responsibilities of telling stories that would otherwise be concealed by society. But, as we emphasize bringing complex narratives to light, it is equally important to recognize those who dedicate their lives to showcase the truth — like the way the 13th Carmignac Photojournalism Award recently did.
The lead image is the courtesy of Bénédicte Kurzen for Fondation Carmignac/NOOR.
Created in 2009 by the Fondation Carmignac, the accolade finances investigative photojournalists who document human rights violations and geo-strategic issues around the world. This year, too, an esteemed jury of nine individuals honoured journalist, lawyer and anti-corruption campaigner Anas Aremeyaw Anas; Ghanaian documentary photographer and independent researcher Muntaka Chasant; and member of NOOR photo agency Bénédicte Kurzen. The trio — who spent a year in Ghana — used photography, video, audio recordings and writing to document the flow of electronic waste between Europe and the African country.
While humans and nature have been at war since the wake of industrialisation, ecological issues such as the transnational flow of waste between continents have a lasting impact not just on the environment but also on livelihoods. For instance, the winning body of work depicts how secondhand electronic waste is crucial to the economy (as it contains valuable metals like gold, silver, and platinum) and how it impacts the country’s diverse environment. However, as Kurzen states, most appliances find “second life in the households of Ghanaian people.”
Interestingly, the project was divided into three parts. Kurzen focused on how the e-waste is sent to Ghana and how communities work to kick-start the chain. Chasan documented social groups of e-waste workers in Accra, the capital of his country, and varying hierarchies in those organizations. Chasan also mentioned that the youth often “migrate” from the northeast side of the country in hopes of “achieving upward social mobility.” Lastly, Anas uncovered how groups in both countries strategically—and through corruption—circumvent international laws for their gain.
Following a year of challenges and undercover operations, the trio obtained invaluable information and insights. What you now see is a project that paints searing portraits of the inhumane conditions the workers are employed in, with no gear or equipment to protect them against harmful emissions, sweltering heat, or injuries, which are occupational hazards. Moreover, through their thought-provoking reportage, the trio also challenges the stereotypes about the workers in Ghana as they highlight the carelessness of European e-waste authorities. After all, it takes two to tango, so why must one country bear the burden of negative perceptions? More importantly, the photo series disputes the label “dustbin of the world” that Ghana received due to informal open-air landfills or Agbogbloshie. Overall, the report provides an intimate, nuanced, evocative perspective on the difficulties related to e-waste management on a worldwide scale.
The project will also be showcased at the United Nations Headquarters in New York (from June 27 to August 31) and the Fondation MRO (July 1 to September 29) in Arles.
If the report has stirred you, then you will be glad to know that the 15th edition’s focus is on Southeast Asia, particularly the human and environmental rights violations caused by illegal fishing and overfishing. The last date for sending your application is 19 August 2024 at 11:59 p.m. (GMT). For more information and queries, visit fondationcarmignac.com.