Anders Kullang & Bruno Berglund – Mohamed Amin: Dokumentacija Afričke Povesti

Car 4 Anders Kullang & Bruno Berglund Opel Ascona 400 CS63 along Hells Gate-Elementaita road in Kenya. Kenya’s renowned photojournalist Mohamed Amin, one of his favourite jobs, was the East African Safari Rally. During the five-day, 3,500-mile event, Mo (also known as ‘Six Camera Mo’) and his Camerapix crew would work flat out to deliver on time. Often they slept out in their battered Land Cruiser, miles from the beaten track, in order to claim the best position for filming. Mo covered this gruelling test of endurance for more than 25 years, and his film reports of the rally achieved legendary status. Sometimes in his desire to get as close as possible to the action, he made the news himself. In March 1978 he parked his vehicle next to a flooded track and, together with his new partner, Duncan Willetts, set up his tripod and camera on the roof to capture the cars as they sped past at 80 mph, spewing sheets of water on either side. For Willetts it was a dramatic introduction to his first Safari Rally. Suddenly Japanese driver Yoshio Iwashita arrived on the scene and broadsided out of control. The careering car hurtled off the road, rammed into the Land Cruiser, and pitched Mo and Willetts into a mud-filled ditch. The incident left Mo with a broken wrist, but typically he kept his cameras running throughout to provide the evening television bulletins with some spectacular footage. His professionalism led to Iwashita receiving an anxious phone call from his wife in Tokyo. Not wanting to worry his wife Iwashha had not told her about the crash, but thanks to Mo and Visnews film of the incident had been screened in Japan. Sometimes in his enthusiasm to be first or to get a saleable shot, Mo would stretch the rules.

• Subject Matter: The photograph focuses on the East African Safari Rally, specifically capturing a pivotal moment during the event – a collision between Yoshio Iwashita’s car and Mo Amin’s Land Cruiser.
• Style & Medium: This is a documentary-style photograph executed with film (likely black and white), prioritizing raw visual documentation over artistic embellishment. The aesthetic leans towards realism, conveying the immediacy of the scene.

• Composition: Dynamic framing utilizes a diagonal line created by the muddy track to draw the viewer’s eye across the image, emphasizing movement and speed. The positioning of the cars and the placement of onlookers contribute to the overall visual balance.
• Lighting: Diffused lighting—likely due to overcast conditions—creates subtle tonal variations that enhance depth and form without harsh shadows.

• Textures: The photograph excels in depicting texture. The muddy track appears rough and uneven, showcasing tire tracks prominently. Similarly, the car’s surface is marked by dirt and grime, adding to the tactile impression of the image.
• Color Palette: As a monochrome piece, the color palette relies solely on shades of gray—ranging from deep blacks to bright whites—creating a striking contrast between the dark mud and lighter vehicle components.

• Symbolic/Emotional Elements: The image evokes feelings of excitement, danger, and resilience. The muddy conditions symbolize the challenges faced during the rally, while the spectators represent human fascination with extraordinary events. It encapsulates Amin’s dedication to capturing history in its most visceral form.

Technique & Materials: The photograph employs fundamental photographic principles—careful composition, exposure adjustment, and precise focus—utilizing traditional film photography equipment to achieve a timeless visual record of the Safari Rally. The resulting print embodies Amin’s unwavering commitment to journalistic integrity.