Sharjah24: Giles Clarke never set out to be a photojournalist. His visual journey began in the dimly lit darkrooms of West Berlin, where he spent a decade perfecting the art of black-and-white printing. Later, after years in the commercial television industry, it was a trip to India in 2007 that steered him towards long-form photojournalism. At the International Photography Festival (Xposure) 2025, on Sunday, Clarke shared his life’s work and precious advice during a focus group session on Photojournalism as a career.
Despite his varied career, certain lessons remained constant. “The darkroom taught me about framing and composition and creating a story,” he explains. “A good story has a beginning, middle, and end”.
That belief in narrative structure informs his work today. He isn’t chasing the adrenaline of breaking news but rather the depth of human experience.
Why long-form journalism still matters
In a digital landscape where short-form content thrives, Clarke remains unwavering in his approach. The difference between a fleeting news cycle and a deeply researched photo essay is often measured in years. Clarke’s coverage of the Bhopal Gas Tragedy, in India, for instance, began in 2007. “I’ve always been interested in the effects of our toxic planet. What are we really doing to ourselves? How do we dispose of everything we use for mass human consumption?”
The images he captured of the second-generation victims — children born with mercury poisoning, twisted limbs, and severe neurological disorders — are haunting. But the work didn’t stop at documentation. “After a few years, I was able to really hear their stories. The mothers let me into their homes. In many societies, disabilities are kept away. But I felt it was crucial to show the real, human damage of this disaster.”
Clarke’s philosophy is clear: photojournalism should elevate, not exploit. His work often focuses on post-conflict zones, mass displacement, and gender-based violence—issues that, despite their enormity, remain underreported. “I’m not interested in showing the guns and the war,” he said. “I’m more interested in the civilian effects, the impact on women and children. When the lights go out, when the photographers leave, what are they left with?”
Working in places like Haiti, Sudan, and Yemen, Clarke has learned the importance of historical context. “You can’t really know a place until you’ve read the history,” he suggested.
Advice for aspiring photojournalists
What does it take to do this kind of work? Clarke has no illusions about the romanticism often attached to photojournalism. “There’s this perception that you get to go to these unusual, inaccessible places, and there’s a sort of naive romance to that. But the real drive has to come from an interest in telling stories.”
For Clarke, the camera is just a tool. “What matters more is curiosity. Ask yourself, ‘What am I trying to say? Why am I interested in this? Am I prepared to do the research?’” He urged young photographers to study the greats, referencing the World Press archive as an invaluable resource. “We’re not just taking photos. We’re communicating important issues, big events, and ultimately, an engaging narrative.”
As Clarke continues his long-form work—most recently in Sudan—his philosophy remains unchanged. “Long-term photojournalism is what I’m about,” he says. “It’s not just about getting a shot. It’s about creating something with a lasting legacy.”
Xposure 2025, the biggest photography festival in the Middle East, is a must visit not just for photo enthusiasts but for anyone who desires to have a sneak peak into the world through the eyes of seasoned photographers. Xposure runs until February 26 at Aljada, Sharjah.
For more details, visit, www.xposure.net.
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