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What groundbreaking images of ‘Africa’ can we expect this year from Visa Festival of Shanty Towns?

duckrabbit — Fri, 29 Jul 2011 20:29:18 +0000

If the video running off the front page of the Visa website is anything to go by they are:

MADNESS and DESPAIR?

VIOLENCE and FEAR?

EXODUS or maybe just WALKING FOR THE BUS?

and BLACK AND WHITE STICK BENDING

I can’t wait and I’m really pleased to see that festival Director J F Leroy has taken on board the the complaints of middle class white people that it’s unfair that poor black people are given so much space at the festival. There are plenty of poor white people who live in shanty towns and they also need to be given a chance to have their lives turned around (and their voices heard) by being featured at Visa .

This photo also running off the front page is a good start:

POOR WHITE COUPLE BEING RAINED ON

(editors note, its possible not all these pictures were taken in Africa. The Visa website doesn’t seem to give captions to them)

Out Of Sight (photofilm)

duckrabbit — Tue, 28 Sep 2010 19:23:33 +0000

One of the great things about teaching on the Masters in Photojournalism at the London College of Communication is that I come into contact with some very talented and switched on people. Many of my students, with a lot of sweat and more than a little luck, will go on to do great things.Hannah Lucy Jones is one of them.

She’s too nuts to create boring or pretentious work.

I’ve been sharing this photofilm during many of my recent three day workshops. People love it.

Take less than two minutes to see what I mean. Really do. (it’s worth knowing that the voice of the man singing is Geoff Long, the man featured in the photofilm)

www.hannahlucyjones.com

Thanks to Geoff Long

Dear Mr Leroy (an open letter)

duckrabbit — Mon, 27 Sep 2010 10:23:18 +0000

Thank you for your response to my post yesterday critisizing the way way certain photo agencies seem content to abuse the rights of indvidual photographers. I am sorry that we misunderstood you. Might that have something to do with upholding a logic that many people find is at odds with your self stated remit of ‘defending professional photographers’?

If you take that remit seriously and if you want others (the one’s who are not desperate to grace the walls of your festival) to take you seriously, doesn’t it make more sense to embrace the digital world in which the vast majority of professional photographers produce their work?

To tell photographers not to use social network sites is a bit like suffering from agoraphobia and then insisting that nobody else in your family leaves your cave for fear the sky will fall on their heads. Let’s briefly look at two things.

The use of the web by photographers
Your attitude towards Morel

Many, many photographers successfully use social network sites and in fact many agencies actively encourage this because they rightly conclude that the danger of another agency stealing and selling their work is far less than having an invisible and therefore worthless product.

Photographers that have used social networks to promote work recently include Kashi, Nachtwey and Bleasdale. David Alan Harvey’s Burn magazine is a social network site. Images can be stolen from it in exactly the same way as Flickr or Twitpic, infact the pictures on Burn are generally of a higher resolution.

How many other cases like Morel’s are you aware of? By putting his pictures on Twitpic he got them out to a huge number of people, at a time when the most important thing to him was that the public was aware of the magnitude of the crisis in Haiti.

Did the fact that he published his photos first on Twitpic stop any of the world’s major news outlets from publishing his photos also? No.

Did it stop any of them from paying for his photos? No.

The only problem is that the money went in the wrong persons pocket and now they want to keep it, for which your comment to Olivier Laurent of BJP was:

‘AFP acted in good faith.’

Mr Leroy if that’s not defending them, then I’m a haricot vert.

Infact the majority of those news outlets who wrongly published Morel’s pictures have now paid him for his work. So actually in many ways his strategy worked. And as stated above it’s a strategy pursued by many of the world’s major agencies.

Take Magnum. Just like Morel everyday they use Twitter to link to their images.

I continue to be perplexed by your unwillingness to accept that there is little difference in protection between publishing a photo on the Visa website and on Twitpic.

In your response to my taking images from the Visa website in the same way AFP took them from Twitpic (to demonstrate the hypocrisy of your comments) you write:

‘The images that are displayed on Visa’s website were licensed for the use on Visa’s website, and, as stated by the universally-recognized copyright sign at the bottom of the front page where you stole the work of others, they are protected by copyright. If you have some kind of viewing impairment that prevented you from seeing this, please accept my apologies.’

This is the copyright sign that you are referring to:

But you are mistaken. It refers to the website but not to any of the uncredited images that I copied from your website because Visa is not the copyright holder of those images, the photographers are. Infact your use of copyright is almost identical to the sign at the bottom of the Twitpic page, the site that you call Morel an ‘amateur’ for posting his pictures on.

However if you want to be seen to really care about the rights of photographers you may want to take a lesson from Twitpic who add the following text to their website under terms and conditions: Given the fact that your own website offers less explicit protection then Twitpic’s isn’t this a case of two standards, your own being lower than the website and the photographer you seek to denigrate? That brings me to issue two, your attitude towards Morel and your bizarre analogy with car insurance. Let’s go along with the analogy for the sake of argument.

You are driving your car and an earthquake strikes. That earthquake destroys much of the city and kills tens of thousands of people. Within minutes this is the scene you are photographing (Morel’s words published in the New York Times and 100eyes magazine):

Destruction. Horror. Black. This place was hit by — I don’t know — hundreds of cruise missiles at the same time. I never saw anything like that. People, dead bodies were all over the place. And in minutes, I would say like 10 minutes, the street was full — full of dead bodies. Everybody was panicked. Sobbing and dazed —people crying for help. Buildings collapsed—the Cathedral of St. Trinity, the Cathedral, the Iron Market, the Presidential Palace, the Palace of Justice, my father’s bakery. The principal manifestations, institutions, and symbols of my Haitian childhood were destroyed in less than a minute. There were aftershocks every 15 to 20 minutes which lasted from three to five seconds.”

And whilst you are doing the job of a photographer someone comes and steals your car, which they then sell through their showroom. When you write to them to try and get compensation they write back to you saying that if you come near the showroom they will run you over.

Infact it was the first evening of the earthquake that Morel, after having just lived through the scene above, had a friend’s daughter help him upload the photos to Twitpic over a dodgy internet connection on the roof of a hotel. Both of them will have been in a state of shock.

I have to tell you honestly Mr Leroy many people are wondering in these horrific circumstances what kind of person who claims to represent photographers (or otherwise) goes right out of his way to beat up on the guy for leaving his keys in the car rather than expressing outrage at the people who took his car and sold it?

Here’s a possible answer that to question. Take a look at this screengrab from your website:

Three questions for you to answer:

Isn’t it true that Visa has a business relationship with Getty, one of the companies who distributed Morel’s photographs and are now refusing to compensate him?
Do you yourself derive benefit from that relationship?
Given that Getty are one of the key sponsors of Visa is it possible that some of the money Getty received from the sale of Morel’s photographs could benefit Visa?

If the answer to any of those questions is yes there is an obvious conflict of interest. Nothing wrong with that. Conflicts of interest are a part of life. But it does mean that given your readiness to lay into Morel people will question your impartiality and ultimately your commitment to photographers, to journalism and to storytelling. That’s a shame considering how much of your life you have given to these things.

I’ll end with an extract from a comment one of our readers made in response to your attack on Morel:

‘If you left your keys in your expensive car, I would take the keys out and give them to you.’

Me too.

Yours Sincerely

Benjamin Chesterton (aka duckrabbit)

The truth isn’t out there

duckrabbit — Mon, 17 May 2010 08:19:30 +0000

Look at the first photo. What do you see?

How does your reading of the first photo change when you see the second?

The two photos are taken at the same place and within seconds of each other and yet the meaning of the first photograph is only revealed when you see the second photograph.

How often do you think we are only shown the first photo and accept it as truth?

How photography lies

duckrabbit — Wed, 17 Mar 2010 19:53:38 +0000

even when it’s telling the truth?

Essential reading.

Dan Chung, we don’t believe in flame throwers

duckrabbit — Thu, 08 Oct 2009 00:45:49 +0000

Yesterday duckrabbit pointed out the success of a rather brilliant advertisement for the military might of the Chinese Communist party by Dan Chung.

Chung has been in touch to let duckrabbit know that as a typical Westerner I’m totally out of touch.

His response (in bold) is worth considering. He’s annoyed by my claim that the video has no context. duckrabbit readers can decide for themselves. This is the text that accompanies the video:

The parade in Tiananmen Square to mark the 60th anniversary of the People’s Republic of China – as seen in timelapse and slow-motion.Slow motion shot on a 7D at 720p/60 Time lapses on Canon Eos5DmkII and Nikon D700. Edited on Final Cut Pro
For more details on how this was shot head over to dslrnewsshooter.com For more on China from the Guardian go to guardian.co.uk/china

Maybe the context is on Chung’s blog, right? At the very least a nod to the students who died in the same square in which Chung’s camerawork beautifies the machinery of war that murdered them? Nope,

That said on his site Chung has many other videos that tell a different story. It is a fair argument that those who seek them out (and we encourage you to do so because its great work) will find balance. The main platform for his work is the Guardian website and again you will find balance there.

would you have cared one jot if it only had ten views?

All journalists should care about work that could be used as propaganda passed off as journalism.

Journalism is sometimes about righting wrongs and at other times just about showing an live event as it happens and letting people make their own minds up.

I agree with the statement but Chung has employed the visual language of advertising and film, not journalism. Can anyone name me a serious strand of journalism that involves removing all natural sounds, all commentary, the use of visually distorting lenses and a emotive music track layered over the top?

On top of that if a report on a live event or story from China needs full context in the video itself, when any similar event in the West does not, then frankly you are imposing a huge double standard. I don’t see the need to explain former British war atrocities in a news report covering the Trooping the colour or the cenotaph wreath laying.

The comparison would be offensive if it wasn’t so daft. We lay a wreath to remember all those who died fighting in the second world war. It’s an act of remembrance, not a celebration. The distinction between the two should be obvious.

The parade in China celebrated the history of the Communist Party rule, featuring over 140 weapons of war, in all their sparkling glory.

In fact did you really criticise the BBC’s coverage of the opening of the Olympics games in Beijing for not mentioning the cultural revolution or political prisioners?

The games were not a celebration of sixty years of a party responsible for murdering over 50 million people.

To suggest that the 2 million mostly Chinese viewers who watched this video had no idea of the context or the past history of the Communist party or indeed the current political climate in which they live, then I think you are deluded.

duckrabbit would be if he’d suggested that, but he didn’t.

Then again its not as if the Chinese dictatorship have been censoring the media, or blocking websites in the past like the BBC Chinese language website?

Chinese are very aware of the past and most still have great pride in their country and events like this and the Olympics. It seems you have a very strange and perhaps outdated view of China, not uncommon in the West, but inaccurate none the less.

Perhaps the red mist got in the way of Chung’s ability to read the original post but duckrabbit gave no views on the people of China, or the country.

Off the back of that, and in the interest of balance its worth noting that Chung is NOT an apologist for the Communist party of China, he’s a talented multimedia producer/photographer and many duckrabbit readers will enjoy his blog. He has covered stories on human rights abuses in China and elsewhere:

5DmkII video – Re-enacting the making of Mao’s China from Dan Chung on Vimeo.

The BBC falls for another PR masterpiece?

duckrabbit — Fri, 03 Jul 2009 13:07:32 +0000

Is this story just PR spin?

It certainly looks like it to me … some hashed up copy that’s come from Reuters. The clever headline has ensured the story is the second most popular on the worlds biggest news website.

Just think of the value in terms of publicity?

Priceless.

Has internet journalism come of age?

duckrabbit — Wed, 01 Jul 2009 13:47:41 +0000

OOH LA LA – Two students con Paris Match’s photojournalism prize

duckrabbit — Sun, 28 Jun 2009 17:58:12 +0000

According to the BJP

‘French magazine Paris Match was the victim of a hoax when it was revealed that this year’s winners of its Photojournalism Award had faked their images.

Every year, Paris Match, which remains one of the last weekly magazine to give predominant space to photography, organises its ‘Grand Prix Paris Match du Photoreportage.’ This year, the prize, which comes with €5000 and ten pages in Paris Match, was awarded to two students attending Strasbourg’s university.

Guillaume Chauvin and Rémi Hubert won for a reportage chronicling the harsh difficulties some poor students encounter while studying at the Strasbourg university.’

You can read the full story in the BJP here, see the photographs on the Paris Match website here and follow a debate on the story at Lightstalkers here.

Fair play to the students. In the judges eyes they produced the best photographs. To me it says something about how style is more important than substance. That’s what’s really being judged here.

Some people seem to think this is another nail in the coffin that is photojournalism. Why? The winners have purely highlighted something that has always gone on in the media. Fakery. People are becoming more aware that we’re constantly being lied to and if that erodes our sense of trust, then good.

Its not the art that counts; its what you do with it.

A duckrabbit hats off to the lads and a fake finger in the eye of Paris Match who threw a tantrum and withdrew the prize fund.

Own goal, idiots (Paris Match)

In their defense, Stan Banos:

duckrabbit photography competition – WIN $1000

duckrabbit — Sat, 06 Jun 2009 15:36:22 +0000

duckrabbit today launches an exciting new free entry photo competition with a twist. One lucky person will win a lip smackingly beautiful $1000. The task is simple … all you need to do is restore a little bit of duckrabbit’s faith in the world. Intrigued? Read on …

The roots of duckrabbit’s competition stated several weeks ago when I came across a powerful post on Stan Banos’ Reciprocity failure. Banos writes:

‘A year or so ago, I sent a “Letter to the Editor” of PDN (which they published) observing how little things had changed in the 35 years I have been involved in photography. More specifically, it was commenting on their “Major Movers and Shakers of Photography” issue- in which the major curators, editors, gallery owners, and publishers featured were all (with the possible exception of one Asian female)… white. OK, OK, one can’t possibly pin PDN with the blame for lack of minority representation in the upper echelon of the photographic universe. Agreed.

Then I get my hands on the PDN May 2009 Photo Annual and check out their 24 (not a half dozen, or ten, or a baker’s dozen at that- but 24!) judges, each and every one- white, white and white! I know it can’t possibly be something as absurdly ridiculous as the now trite mantra of- “I just don’t see race.” It’s what year, what century, what presidency? Just how is it that to this day, people of color are still not represented anywhere near proportionately in these creative command positions?

… the other reasons for such obvious exclusion are even more nefarious and depressing, ranging from out an out indifference to blatant passive racism. Regardless, I still don’t know what possible, plausible excuse could exist for an all white jury from a publication of such influence.’

The following day Banos went on to write:

‘Some of us only have to worry about race when we’re in certain neighborhoods, for others it’s a crucial and defining factor throughout our lives. Ultimately, it’s something that affects us all. It’s nice to vote for a symbol; it’s more important to deal with everyday realities and consequences. This country and planet has witnessed too many of the ensuing horrors when we don’t.’

duckrabbit’s competition is simple. Stan Banos claims PDN’s action is in part an example of ‘passive racism.’ Surely an outrageous slur on the photographic industry? In the absence of PDN feeling the need to respond, duckrabbit are offering $1000 to anyone who can prove Banos wrong.

Simple.

To be honest duckrabbit presumed Banos must have made a mistake somewhere. Then I noticed that Pete Brook, author of the blog Prison Photography (one of the most intelligent reads on this or any other planet) added that this was a blatant act of “Passive racism”. duckrabbit sat up. Maybe this wasn’t just the shooting off of a lone blogger?

Yesterday I came across PDN’s website where they are making a wonderful song and dance of their judging panel in all its glorious lack of color. My conscience cracked.

It just seems like a big two fingers up to a future world that is more equal than the one we’re living in right now.

Photojournalism has been responsible in bringing to our attention some of the terrible inequalities that plague this planet. It’s an industry and an art that has made a difference, has changed the way that people like me think and feel about the world. But like Pete Brook, as an outsider, I’m starting to wonder, if at the heart of the industry lies a dark hypocrisy, so entrenched that no-one dares speak about it. I’m starting to feel cheated.

Whilst photography has been hell bent on changing the world for passion and for profit, perhaps it has failed to change itself? Failed to be the change that it wants to see in the world?

At duckrabbit we’ve decided to encourage the debate. We’re responding to PDN’s competition with one of our own. We’re asking them to prove Stan wrong, to engage with his comments, or else at the very least acknowledge the issue. That’s all. And we’re offering $1000 to the first person, anyone, who can come to PDN’s defense and answer his question as to ‘what possible, plausible excuse could exist for an all white jury from a publication of such influence?’

Here are the list of PDN’s judges. Maybe you know one of them? If so perhaps you could drop them an email and let them know that there is a grand up for grabs. I bet they are all good people, but I wonder if they feel a twinge of embarrassment when they look down the list?

The money’s on the table. The cards have been dealt. Which way you going to bet?

(To win simply post your submission. We’ll pop it up on the blog. We’ll pay out to the first person who can convince Stan Banos. You have two weeks)

Joe Elbert was the assistant managing editor of photography for The Washington Post newspaper from 1988 through 2007. Under his direction The Washington Post photography staff won more awards than any other newspaper in the history of journalism. In 2003 he received the Joseph A. Sprague award, the highest award given by the National Press Photographers.

Julie Rosenoff is the manager of art buying at Euro RSCG Worldwide, in New York. She still loves what she does after all these years, as every project provides a new opportunity to work with the amazing talent. In her spare time, Rosenoff enjoys spending time with her almost 2-year-old, son, Clayton.

Michael Foley opened Foley Gallery in the Fall of 2004 after 15 years of working with notable photography galleries including Fraenkel Gallery, Howard Greenberg Gallery and Yancey Richardson Gallery. He is on the faculty of both Parsons The New School for Design and the School of Visual Arts where he teaches and lectures on issues in contemporary photography.

Shannon McMillan is a senior art buyer at GSD&M Idea City, where she has worked for the past eight years. Her passion and commitment to producing great work is not limited to what she has produced within the world of advertising. Shannon also designs original glass jewelry and is a photographer—shooting for both her personal projects and for clients and in-house projects at GSD&M.

Patrick Donehue is a photographer, educator and consultant who has specialized in the production, marketing and management of stock photography since 1982. He has held senior positions at Corbis and Getty Images and is the former president of the Picture Archive Council of America (PACA).

David J. Carol is the author of the award winning photography book 40 Miles of Bad Road… His new photography book All My Lies are True… will be released in Spring 2009.

www.DavidCarol.com

Dennis Keeley has worked as an artist, photographer, teacher, and writer for more than 25 years. He is currently the chair of the Photography and Imaging Program at Art Center College of Design in Pasadena, Ca.

As co-founder and CMO of Splashlight, Benoit Lagarde has been instrumental in the company’s growth into a multi-million dollar corporation over a period of seven years. Benoit’s creative vision has been the critical and driving force behind the company’s growth. Trained as a professional photographer, Benoit studied at the International Center for Photography in New York. Prior to his work in the photography business, Benoit served in the hospitality industry and has carried his passion for creative food arts with him to Splashlight—overseeing the award-winning eateries inside Splashlight’s various locations.

Jennie Myers maneuvers a hypoallergenic mouse through Adobe-made mazes from a remote desk located at the offices of Drake Cooper (an ad agency) in exotic Boise, Idaho, where she is chiefly employed as associate creative director, and sometimes as deputy director of “ooh-those-shoes-are-fierce.” She recently celebrated her tenth anniversary as a creative by taking design to a fancy, downtown restaurant. Jennie also occasionally harasses design students at Boise State University dressed as an adjunct professor.

Yossi Milo is the owner of Yossi Milo Gallery in New York City. The gallery specializes in contemporary photography and works on paper.

Paul Amador is director and co-owner of Cohen Amador Gallery, located in the Fuller building in New York City. The gallery, opened in 2005, specializes in modern and contemporary photography, and represents mid-career artists from Japan, Europe and the U.S. Prior to opening Cohen Amador Gallery, Mr. Amador was director of Lyons Wier Gallery, a contemporary art gallery located in Chelsea, New York City. Mr. Amador began his career as an international banker in New York and London in the early 1980s and began to collect and practice photography as a hobby shortly thereafter. He is a graduate of the University of Illinois and studied photography and print-making at the New School in New York. He left the banking field in 2001 to pursue his interest in the photographic arts on a full-time basis.

Steve Bliss is an artist and educator residing in Savannah, Georgia. His photographs, digital collages and various works on paper are among the holdings of a variety of museums and private collectors throughout the country and overseas. Steve currently serves as the dean of the School of Fine Arts at the Savannah College of Art and Design.

Liz Miller-Gershfeld has been working in advertising for 15 years. She has been producing award winning art for clients such as Wrigley, Jim Beam Brands, Bayer Brands, Dial and many more as a vice president and senior art producer at Energy BBDO since 2000. Earlier, she worked on the production end of the process—getting her start as a production assistant on small feature films. Now a frequent lecturer and panelist, Miller-Gershfeld lives in Chicago with her husband and two sons.

Bruno Ceschel is a freelance editor, writer, and photography consultant living in New York. His current project is a book on contemporary queer photography, and he is the editor of the new art / porn magazine STROKE, which will premiere in Summer 2009. Before moving to New York, Ceschel was based in London, where he worked on the 2008 edition of the Brighton Photo Biennial and for Chris Boot Ltd, and was visiting professor at the London College of Communication.

John Sale is assistant managing editor for visuals at The Commercial Appeal newspaper in Memphis, Tenn. He manages still and video photojournalism, design and graphic art, which is a fancy way of saying that he spends his days clicking on pictures. Sale started in the news photo business at age 16 and has won over 100 picture editing and design awards from international competitions.

Samaruddin “Sam” Stewart has edited visuals for several news outlets including The Arizona Republic, Agence France-Presse, and most recently AOL, where he managed photo editors and was responsible for the visual direction of AOL news, sports, and entertainment images for 6 years. Samaruddin has also photographed over 40 countries, spanning six continents. He holds a B.A. in journalism and a master’s degree in mass communication, both from Arizona State University. Stewart is an active member of NPPA, WHNPA, SPJ and ONA where he routinely gives presentations on photo topics and judges photography contests. He recently relocated to Budapest, Hungary where he will pursue new photography adventures.

After starting her career in her native Toronto, and during five years of living in New York, Tracy Doyle has worked with some of the best and brightest in the photographic community. She has had stints at Steven Klein’s and Annie Leibovitz’s studios, and she was part of the historic re-launch of Interview magazine where she has worked with greats such as Mert & Marcus, Craig McDean, Nick Knight, Fabien Baron, Karl Templer and Glenn O’brien. She teaches two classes at the School of Visual Arts, in addition to partaking in both their Mentor and Independent Study Programs.

Olivier Picard is the former director of photography at U.S. News and World Report. He has also worked as an editor in the National Geographic book division. In the 1980’s and early 1990’s he worked for the news agencies Sygma and Sipa Press. He is the recipient of numerous picture editing awards.

Michelle Bogre is a photographer, writer and lawyer specializing in copyright and media law. She is the former Chair of the Photography Department at Parsons The New School for Design and is currently an associate professor. Bogre helped to select the winners for this year’s Marty Forscher Fellowship.

Nan Oshin is currently a design consultant and creative director. She has worked with clients including Billboard magazine, the Carlyle Hotel, the Capital Group, Costco, C magazine, the Oracle Corporation, the Ritz Carlton Hotel Group, Warner Brothers, and WW Norton. She has extensive experience in the creative direction and design of magazines, most recently as the senior art director at the Los Angeles Times Sunday magazine. She has won awards for art direction and design, and has juried and curated numerous photography and design competitions and shows.

Elodie Mailliet is director of photography for Contour by Getty Images where she oversees the carefully edited collection of high-end celebrity portraiture. Prior to joining Getty Images, Mailliet was director of photography for portraiture and entertainment at Corbis Outline. In 2005, she was named one of the top 100 people in photography by American Photo. Mailliet is author of the book one2one, published by teNeues. In addition to her previous roles at Corbis and Icon International, she has worked as a freelance writer for numerous French and American publications such as Le Nouvel Observateur, VSD and French Photo. Mailliet currently resides in New York City.

Barbara Bordnick is a photographer with more than 25 years of experience in fashion, beauty and portraiture. She has garnered awards for outstanding work in film, print, advertising and art. Her images are in permanent collections at the International Center of Photography, the Gilman Collection in New York and the Polaroid Collection in Massachusetts. Bordnick helped to judge this year’s ASMP Arnold Newman Prize.

Peter B. Kaplan has been a photographer for more 30 years and his photographs have appeared in countless publications. Kaplan documented the Statue of Liberty’s historic restoration beginning in 1982, and currently has the most extensive story on the statue. Kaplan helped to judge this year’s Marty Forscher Fellowship.

Ariel Shanberg is the executive director of the Center for Photography at Woodstock, a non-profit artist-centered organization dedicated to supporting artists working in photography and related media, and engaging audiences through opportunities in which creation, discovery and education are made possible. Shanberg has curated many exhibitions at CPW and he has also contributed essays on the work of numerous photographers including Lucas Foglia, Angelika Rinnhofer, and Jeff Milstein. He also sits on the advisory board of En Foco.