In each issue of Enter, we put a set of identical questions to people who have gone on to make their names in photojournalism after attending a World Press Photo Joop Swart Masterclass, named after the late magazine editor and honorary chairman of World Press Photo.
These five-day events, introduced in 1994 to encourage and train young photographers, are normally held every November so that a dozen young practitioners from all over the world can meet and learn from some of the world's top professionals.
Our subject for issue four is Morad Bouchakour. Dutch-based, Morad has had a close relationship with World Press Photo. Now 40, he was a founder member with three other photographers, of the Inn Agency.
"We do everything, "says Morad. "Editorial, adverstising, art and news."
Morad, How did you get started in photography and what was your biggest break?
When I started studying economics at the University of Amsterdam the government gave me, by mistake, too much money. So, I bought my first camera with that money. I think it was the first autofocus camera available, a Canon. Soon I found myself photographing more then studying. So much to photograph so little time! My father never had the chance to go to school and really expected me to finish University. To not totally disappoint him, I went on studying Art History. This really opened my eyes and heart to photography. So many great and beautiful photography already existed! My first big break came when I was allowed to be the assistant to Dutch photographer Dana Lixenberg, who lives and works in NY. I regard her as one of the great portrait and documentary photographers of our time. I learned so much and with that gained confidence to go out and do my own projects. The second big break came in that same period, being selected for the World Press Photo masterclass. I came to the class with a new-found confidence and was almost sure that everybody would like my project. That was not the case. I found myself in the middle of fierce discussions about my work with a group of very talented and very straightforward photographers. There was no way out. I had to defend and explain my work with words, something I had never done before and something I thought I wasn't capable of doing. It was a blessing in disguise. Although the group was very though on me, it really helped me develop my own style and interests and gave my photography a big boost.
What qualities does a top photojournalist need?
You need many different qualities. But I think that the only way to thrive in this business is to really love photography. That it is the only thing you want to do. A great picture or story makes me forget everything I had to do to get that picture.
What is your most memorable assignment?
I don't have just one, there were many assignments that I really loved. There are some memorable moments in history, though, where I wasn't present but I wish I had been. Like when the Berlin wall came down.
Are you – or will you ever be – fully digital?
Right now, I only do some advertising jobs digitally. I still like film for much of the rest of my work. I like the imperfection of film. I keep myself up-to-date with what is going on in the digital world. I guess tighter deadlines will make it harder to keep working on film. I really dislike the time you need to spend behind a computer when you shoot digitally.
What essential equipment do you travel with?
I only need my Mamiya RB and a small flash to start with. Most of the time I travel with more equipment. At that point, I really need an assistant.
It's great to travel together. Two people can see and do so much more in the same time.
If there is one piece of advice you would give to a photojournalist starting out on a career, what would it be?
It's very important that when you start not to try to please your clients too much. Try hard to develop your own signature. That's going to be difficult in the beginning because you don't have a reputation and a lot of clients will try to impose their vision on your photography. There are so many photographers around. You want clients to call you because they recognize your style and think you are the only one that can give them that special picture.
Which of the pictures you selected is your personal favorite and why?
Thomas, Washington DC 1997. I went to photograph the second Clinton inauguration. Due to all the security, it was quit boring. I met Thomas somewhere around the White House and spent a few hours with him. It made the trip worth while. This is when I understood that you can make a story better by being open to what happens around the main story.
Next to whom would you like to sit in an airplane going where?
Next to any of my friends just going anywhere. I have had very little time to spend with them lately.
What ambitions do you have left?
I am teaching and speaking to students more often lately. It ‘s nice to be in touch with young talent; you get so much back from them. I will try to do that on a more regular basis. And, of course, it would be nice to be in the World Press Photo exhibition!
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