Observer picture editor Greg Whitmore, who is leaving the newspaper, looks back at the photos that made the news during his quarter century at the helm of the picture desk.
Absolutely honoured to have my work featured in this gallery of images, spanning 25 years of our modern history. The honour is even more amplified when I look at the phenomenally powerful work from talented and devoted colleagues with whom I’m sharing the page, but also by the fact that the gallery was curated by such an extremely well respected and talented picture editor with true Fleet Street heritage.
You can see the gallery here and also read about the legendary Greg Whitmore’s experiences at The Observer here, covering his near 30 years at the paper.
You can read more about London’s darkest hour in recent history and my experiences on that day, here. The same photograph from this awful day was called one of the world’s most iconic photographs by the Daily Mirror.
We spoke about life, politics, newspapers, my career and the many aspects of photography. I even shared my journey in cameras; Nikon, Canon, Leica, Olympus and Panasonic Lumix. Something for everyone!
Hope you get a chance to listen (above) or even watch our chat.
Shooting The International Launch Campaign For Panasonic Lumix; Seven Weeks With The Lumix S Pro 24-70mm f2.8 (Pre-Production) Lens
Pre-production Panasonic Lumix S Pro 24-70mm f2.8 L-Mount Full-Frame Lens, attached to a Lumix S1 camera. London, UK. August 27, 2019. Photo: Edmond TerakopianA self portrait, showing a pre-production Panasonic Lumix S Pro 24-70mm f2.8 L-Mount full-frame lens, mounted on a Lumix S1 and a Uniqball ball head. London, UK. August 25, 2019. Photo: Edmond Terakopian
“Mmmmm, this is going to be special”. This was what I said to myself as soon as I looked at the the very first test frame I shot with the lens on my Lumix S1R. Followed by, “Its so sharp!”. This was a very good way to start shooting with a brand new lens. In fact, a pre-production model at that, with early, pre-production firmware.
Eunsley Park, award-winning British, South Korean violinist, with a Lorenzo Storioni violin, from the 1800s (from the Beare’s International Violin Society). Walkway by a construction site, Ealing, London, UK. July 29, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTOEunsley Park, award-winning British, South Korean violinist, with a Lorenzo Storioni violin, from the 1800s (from the Beare’s International Violin Society). Walkway by a construction site, Ealing, London, UK. July 29, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
I felt rather honoured when Panasonic Lumix UK got in touch to see if I’d like to test out the unreleased S Pro 24-70mm f2.8, ahead of it’s global launch on August 28th, 2019, which was around 1.5 months away. Unboxing the generic brown box, cutting away the bubble wrap, revealed the new lens. I found out the lens had been carried by hand, all the way from Japan! I got out some black tape, covered up all the markings and began shooting.
Entertainer and clown Christina Petre. Armenian Summer Festival, North Acton Playing Fields, Eastfields Road, London, UK. July 14, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
It’s a bit of a special feeling knowing only a handful of people globally have seen the lens and I’ve been asked to test it and make images with it to be used for the global launch campaign. It’s also quite stressful, knowing photographs have to be made to not only showcase, but live up to every aspect of what was already proving to be a spectacularly good lens.
Portrait of Stephen Unwin (theatre and opera director, writer and teacher) at home. London, UK. July 15, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
One of the characteristics that hit me as I begun shooting more and more, was that this wasn’t just a sharp lens, but it had something special. Pure clinical sharpness is ok for forensic type photography, but for being creative, for conveying mood, for sharing a story, one also needs gentleness, subtlety and grace. The rendering from this lens has all of that.
Jan Hellebrand assembles a mechanical clock after a full dissasembly and service. The Clock Gallery, Pitshanger Lane, Ealing, London, UK. July 16, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
Generally, a 24-70mm f2.8, is a bread and butter lens; pretty much everyone will have one in their bag and it’s the standard professional zoom. Versatile, useful and a safe choice. What I found special though, was this wasn’t just a bread and butter lens. Where one may have a standard zoom for safety, one would also have a special prime with nicer rendering, for making those special portraits or creative shots.
In Armenian mythology, the pomegranate is celebrated as a symbol of life and is also believed to keep us safe from evil spirits. It has religious connotations to Christianity and is seen as the blood of Christ. The mythology of ancient Greece regarded this fruit as the symbol of life, marriage and rebirth. The fruit is also used as a holy symbol and respected in zoroastrian worshipping ceremonies and rituals.The pomegranate symbolises the soul’s immortality and the perfection of nature for Zoroastrians. For Muslims, the pomegranate is also a symbol of beauty, it is said to give beauty to those who eat it. Prophet Mohammed has advised pregnant women to eat pomegranates if they wanted beautiful children. Placement of pomegranate trees in the gardens of Eden, brings meaning for Muslims, who as a result believe that it is a holy tree. The Jewish mysticism called Kabbala reveres the pomegranate in many of its rituals. In modern Turkey today, many families throw a pomegranate on the floor and “crack” it on the New Year’s Eve to have a plentiful new year. Pomegranate still life. London, UK. July 16, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
Well, the S 24-70mm f2.8 has all of that. It’s truly special to have all these qualities wrapped up in one lens. Versatility and speed, but also beautiful rendering, colour, contrast, detail and well, a bit of poetry too. I found it captured light and colour beautifully and rendered a nicely soft background in out of focus areas. As much as I hate talking about this and using the word bokeh, it does have beautiful bokeh! (I need to add my dislike is purely based on people who only care about bokeh and nothing else, especially not the craft of photography).
A Piccadilly Ballerina Jonquil timepiece, modelled by Mona Ali. British luxury timepiece creator Backes & Strauss (founded in 1789). 21-22 Grosvenor Street, Mayfair, London, UK. July 17, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
It is chunky though. I felt the same way as when I first picked up the S Pro 50mm f1.4. Although I wished all of the S Series lenses could be a little smaller, just as with the S 50mm, as soon as I started shooting with the S 24-70mm, it justified it’s size and won a place in my camera bag. In fact, I pretty much didn’t shoot with anything else and seven weeks on, it’s always been mounted on either my S1 or S1R.
The horses are cooled down with water after the match. King Power Gold Cup polo match between Emlor and Murus Sanctus. Cowdray Park Polo Club, Ambersham & Brooks Field Grounds, Selham, West Sussex. July 10, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
It just produces beautiful images and no matter what type of subject I point it at, it does as I ask and produces what I want. Fast to react and precise in rendering.
Fashion designer and independent British luxury brand, Joshua Kane, in his flagship store at 68 Great Portland Street, London, UK. July 23, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
Super fast and silent AF, outstanding build quality and stunning optics. I have a feeling the scientific types at DxO Labs are going to enjoy putting this through their rigorous tests.
Hans Staartjes with his hand built indoor free flight rubber powered model airplane, known as an “F1D” class (internationally recognised flight duration competitions since the 1960’s). The model has a wing span of 55cm and weigh 1.4 grams. The model is balsa reinforced by very fine boron filaments and covered in the lightest film available, called OS film. London, UK. July 05, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTOA portrait of German television host Max (Dieter) Moor. Inauguration of Lumen, the Museum of Mountain Photography, at 2275m, perched atop Mount Kronplatz-Plan de Corones, South Tyrolean Mountains and Dolomites, Italy. July 20, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
So please don’t read this small post as a review; it really is a quick preview. I’ll let the pictures speak for themselves. Keep in mind though that this is a pre-production lens with early, non final firmware and so is definitely a pre-release lens. Yet, it helped make these images with grace. I can’t wait to get my hands on the final thing! If you have an L Mount camera, I suggest you try it too!
Italian Alpine (Mountain Troop) soldiers at the top of Kronplatz mountain. Plan de Corones, South Tyrolean Mountains and Dolomites, Italy. July 20, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTOTraditional Armenian Sunday Worship conducted by Rev. Shnork Bagdassarian. St Sarkis Armenian Apostolic church (the Grade II listed building was constructed in 1922 and is the only church in England to have been built in the traditional Armenian style). Iverna Gardens, Kensington, London, UK. July 07, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
The Queen Victoria Memorial outside Buckingham Palace, London, UK. July 07, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTODancers from the London based Akhtamar Dance Group. Armenian Summer Festival, North Acton Playing Fields, Eastfields Road, London, UK. July 14, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTOA lady photographs her friend using a smartphone. Upper deck of the Snog frozen yoghurt bus. South Bank, London, UK. July 16, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTOSummer Flowers. Ealing Common, London, UK. July 11, 2019. Photo: Edmond Terakopian ***Photo taken using a pre-production Lumix S 24-70mm f2.8 lens, running early firmware. This lens is not a final production sample*** COPYRIGHT PHOTO
Having just watched the Livestream from Hollywood, launching the Lumix S1H and S Pro 24-70mm f2.8 lens, thrilled to see one of my images shown by Yosuke Yamane-san, the head of imaging at Panasonic.
Thrilled to have two of my photographs selected by the curators of the BPPA’s (British Press Photographers’ Association) tremendously powerful and not to be missed, Assignments 2019 exhibition. The show is beautifully curated and thanks has to be given to the talented team of curators, comprised of some of the brightest beacons in the photojournalism industry. Many thanks to Tom Stoddart, John Downing, Nikki Sutherland, Lawrence Lustig and Julie Edwards.
The private view and opening of the BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian
At the private view of the exhibition, it was an absolute joy to meet Fleet Street’s legendary press photographer John Downing for the first time. He had been a huge inspiration for me and my ethos of never being without a camera came from reading about his work. When a colleague pointed out my photograph (The Joys Of Life), it was an absolute honour to hear him kindly praise the image, saying it was one that he had chosen personally and to hear his kind compliments about the composition, timing and light, pushed me to blush!
This photograph was made on a Panasonic Lumix G9 and Leica DG 50-200mm lens. The raw image was processed in Adobe Lightroom and the monochrome treatment was finished in Nik Collection’s Silver Efex Pro on an Apple Mac Pro and fully calibrated Eizo CG monitors.
My photograph “The Joys Of Life” (centre), was one of two images selected for the exhibition by the curators. BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian
The second image kindly chosen by the curators was of a homeless man, seemingly passed out from wine, after another hard day on the streets.
The UK faces a homeless epidemic, with statistics showing that a homeless person dies every two weeks in London, one of the world’s wealthiest cities. Spiralling property prices are being cited as a huge factor, alongside access to mental health services becoming harder over the last several years. A homeless man lays on the street, apparently passed out from drinking the wine tied to the top of his belongings on his trolley. His guitar, probably used to busk with to pay for the wine, still strapped to his back. Another homeless man, wrapped in a sleeping bag, walks by. Tesco superstore, Pentonville Road, London, UK. March 21, 2018. Photo: Edmond TerakopianPhotographer Edmond Terakopian beside his image of a homeless man, was one of two images selected for the exhibition by the curators. BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Tracy Howl
The photograph was shot on a Sony RX1RII camera. The raw image was processed in Adobe Lightroom and the monochrome treatment was finished in Alienskin Exposure X3, on an Apple Mac Pro and fully calibrated Eizo CG monitors.
BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond TerakopianContact Sheets at the BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond TerakopianBPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond TerakopianA poster for the BPPA Assignments 2019 photography exhibition (on from 17th to 19th May, 2019) at Bargehouse, Oxo Tower Wharf, London, UK. May 16, 2019. Photo: Edmond Terakopian
It’s a very sad truth that sexism and racism is rife in the media. As a British photojournalist born in Iran and off Armenian descendants, I have lived in the UK since the age of eight. It’s very much my home and I’m extremely proud to be British and to contribute to society through my work, both professionally and in various volunteer basis, as well as numerous charitable contributions.
Through various publications, competitions and awards over the years, I have proven my ability as a photojournalist, yet sadly have never managed to make it past being a casual freelance photographer (meaning being commissioned daily) for the newspapers and agencies. I have several talented colleagues who are of various ethnic backgrounds who have the same struggles. The same discrimination is shown towards white, English female colleagues when contracts and big projects are filled. It is indeed rare to see someone of ethnicity or female photographers in good contract positions, the recipient of the top commissions or in possession of staff jobs (even when these were more abundant).
It truly is a shame that one’s ability and skill is often overseen, in place of one’s ethnicity or sex. After all, the reader or viewer sees the work, not the author. Its quite bizarre that over the last year, I decided to grow a long beard. Instead of this being seen as a trendy or hipster type thing, because of my slight tanned complexion, I could see a lot of people were judging me as some sort of religious extremist. Since shaving it off a couple of months ago, the reaction of the same people when seeing me is the polar opposite. Its quite sad really. Ignorance is most often not bliss.
Picture editors, editors, publishers and media owners need to look at the quality of work and ability of the photojournalist, not their ethnicity, sex, cultural background or religion. I’m definitely not one to condone positive discrimination either; quotas shouldn’t be filled based purely on one’s ethnicity or sex. I just think that the best person for the job should always get the job regardless of the colour of their skin or their sex.
The NY Times has this excellent article, which is well worth a read: Seeking Action — Not Just Talk — About Diversity in Photojournalism. Even more importantly, at the end of the article is a link to a survey for working photojournalists. Please put aside five minutes and fill in this Reclaim survey. Hopefully it’ll benefit the industry and our readers too.
Thrilled to have permission from the BBC to share this clip of myself and journalism student Wilton Jackson from the University of Baton Rouge being interviewed on a segment about iconic photography.
The segment was based around the superb photograph from the Baton Rouge protest (July 10th, 2016) by Reuters photographer Jonathan Bachman.
This clip is being used with full permission of the BBC (Global Planning Editor, BBC News, London). This was a live broadcast on July 21st, 2016.
I do not condone nor can I be held responsible for reader comments published on this blog; they are the sole responsibility of the reader making the comment.
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