But I would perhaps throw the question back at you.
Why, Siria?
Because it's newspapers all the time,
because we'll press photos about the beginning.
It sounds like a traditional kind of a guy.
No, not at all.
Absolutely not.
Just to join us a question.
Yeah, I think it's very difficult to.
This is the world press photo of the year.
And I think it represents photography and photographers
from all over the world.
And Siria is, without question, an extremely important story.
And we were very mindful of that.
And I think Siria is represented as powerfully
as it possibly could be in this competition.
But Siria might not be the most important issue
in the world to people in Latin America or Asia or Africa.
And we didn't feel any pressure to impose
the world view of some of the jurors possibly on anybody else.
And we were really responding to the photograph.
And I think there was a recognition amongst the jurors
that immigration is an issue that is of vital importance
in Latin America, North America, Europe, Africa, Middle East,
Asia.
It is one of the critical issues in the world for everybody.
So I think this photograph addresses
that very, very powerfully, very beautifully.
In the tear, it's maybe a logical conclusion
of a number of other pictures that you've
shown and that you're going to talk about,
which has a bit of a mystery in it.
So it's photography, inclusion, and it deals
with a number of things about what this is.
Yeah, I think the intention of the jury
isn't to provoke anybody.
That's the job of the photographer.
It's the job of the photographer to raise these issues,
to photograph these issues, and to provoke us to respond.
And we felt that this photographer, John Stammerer,
had done that, as in fact did all of the photographers
throughout the competition.
So I don't know if that answers your question,
but we didn't seek to provoke anyone.
What I do hope, though, is this will perhaps
liberate photographers a little bit
from the convention of portraying everything
with the language of despair.
And serious issues do not need to be represented solely
through despair.
And I think this photograph happens
to be a really beautiful example of a photographer who's
using a slightly different language
to address a very desperate issue.
Anyone else?
You told us that during the process of enjoying your work.
