Mike Kirkland & Dave Haworth - Mohamed Amin

Car 22 Mike Kirkland & Dave Haworth Datsun Violet 710 CS21 along Kabarnet-Kipkorian 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 image encapsulates the exhilarating spirit of motorsport—specifically, the East African Safari Rally—celebrating victory amidst challenging conditions. It portrays two men perched atop a Datsun Violet 710 automobile, symbolizing triumph and camaraderie within a pivotal moment in Kenyan history.
• Composition: Dynamic framing dominates the scene, with Kirkland & Haworth positioned as focal points against a backdrop rich in contextual detail. Signage proclaiming “Omega” and “Kenya Airways,” alongside the imposing Kenyatta International Conference Centre (KICC), establishes the rally’s location and adds depth to the visual narrative. The expansive crowd contributes further dimension, conveying the palpable excitement of the event.
• Color Palette: Presented in monochrome—black and white photography—the palette prioritizes tonal range, ranging from deep blacks to brilliant whites. This deliberate choice enhances contrast and highlights key elements, emphasizing texture and creating a timeless aesthetic.

• Use of Lines & Shapes: Strong diagonal lines originating from the car’s hood and signage guide the viewer's eye across the frame, conveying movement and dynamism. Rectangular shapes dominate—the buildings and signs—providing structural stability while organic forms emerge in the crowd and surrounding landscape.
• Textures: The photograph meticulously captures varied textures: the smooth surface of the car’s chassis, the rough fabric of clothing worn by the participants, and the blurred impressions of the bustling spectators. These textural nuances enrich the visual experience and contribute to a sense of realism.
• Lighting: Natural daylight illuminates the scene, casting shadows that underscore the intensity of the light source—likely positioned above and slightly to the side—creating depth and highlighting contours.

• Perspective & Depth: The photograph leverages perspective to generate spatial illusion. Background elements recede into distance, diminishing in size relative to foreground subjects, fostering a feeling of expansive space and conveying the grandeur of the Safari Rally environment.
• Symbolic/Emotional Elements: Beyond mere documentation, the image evokes profound emotions—joyful celebration, unwavering determination, and a nostalgic appreciation for an era defined by adventure and journalistic excellence. It serves as a powerful reminder of Mo Amin’s legacy as a pioneer in African photojournalism and his enduring fascination with capturing extraordinary moments.

• Style & Medium: The photograph adheres to documentary style, faithfully reproducing reality without embellishment. Employing film techniques—specifically black and white photography—the artist achieves remarkable tonal variation and textural richness, resulting in an image that transcends time.
• Technique & Materials: Captured using a traditional camera equipped with film stock, the photographer skillfully manipulated exposure to maximize detail in both highlights and shadows. This meticulous approach ensures that every nuance of the scene is faithfully preserved—a testament to Amin’s dedication to artistic precision.

Size:** Unknown Date:** 1979