The recent win of the photograph "Hope for a New Life" by Australian photographer Warren Richardson (48), currently based in Hungary, as Photo of the Year in the World Press Photo competition, marked a return to the simplicity and traditional (classic) style of photography, free from the obsession with digital retouching that often distances images from their raw reality. This win also reaffirmed the importance of a core element of photojournalism: serving its functional, informational purpose, even if other elements, such as ideal lighting, clarity, or stability, are missing.
Despite its significant blurriness, graininess, and shakiness—caused by using high ISO and a slow shutter speed to capture as much light as possible in the dimly lit scene—the photo emerged as the most successful, earning its prestigious title among thousands of entries from photographers worldwide.
Some may consider these aspects technical and artistic flaws when judged by narrow and superficial criteria, such as those often applied in Arab competitions. Yet the photo’s success can be attributed to several factors, foremost its rarity. Richardson was the only photographer present at that moment to document a hidden and unannounced event: a Syrian refugee father smuggling his infant through barbed wire between Hungary and Serbia.
Another reason for its success lies in the challenge of capturing this image at 3 a.m. without any artificial lighting. Richardson relied solely on moonlight to illuminate the scene. When viewed, the image initially appears like poorly printed black ink on paper, resembling a badly reproduced photocopy. Yet the unique circumstances of its creation shaped its raw aesthetic. Richardson explained, "I had to take the photo without electronic lighting to avoid alerting Hungarian and Serbian border guards to the refugees’ crossing point through the barbed wire. My only option was to rely on moonlight."
The image evokes profound questions in the viewer, fueled by its depth and mystery, alongside its rich visual elements. What was initially a technical necessity—forced by unfavorable conditions—transformed into visual and artistic features: the prominence of barbed wire in the darkness, the blurred human figures, the baby lying perfectly still as if chosen for the moment to prevent discovery, and the father’s face, reflecting anxiety and fear in the shadows, as his hands reach out to pass the child.
While not the first time that similarly composed journalistic photos have captured global attention, Richardson’s photo leaves a lasting impression on the photography world. Upon seeing this 2015 award-winning image, one is reminded of iconic photographs, such as Hungarian photojournalist Robert Capa’s coverage of the Allies’ landing on Normandy beaches during World War II in 1944. Capa’s photos, taken under difficult conditions from nighttime into dawn, similarly carried technical imperfections like blurring and instability, yet remain among the most significant photojournalistic images in history.
Dubbed "The Magnificent Eleven," Capa’s photographs were rare and impactful, taken under extreme circumstances as he was the sole photographer on the Normandy beach during the initial assault. Miraculously, they survived a lab mishap in London that nearly destroyed all negatives. Out of the ruined roll of film, only these 11 photos were salvaged.
Like Capa’s work, Richardson’s photo achieved its journalistic purpose, turning its technical imperfections into a visually compelling and emotionally resonant asset. Notably, Richardson’s photograph was also taken in black and white, adding to its timeless appeal.
Robert Capa once said, "If your photos aren’t good enough, you’re not close enough." Richardson’s proximity to the scene—both physically and emotionally—enabled him to capture an extraordinary image, despite its blurriness, shakiness, and dimness. Ultimately, his work reestablishes the value of classic photojournalism.
By Mohammad Hannon / originaly written in Arabic and published in Arabic newspapers.
Palestinian-Jordanian Photographer
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