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“Because we are essentially
a subscription magazine [and
don’t have to consider the
newsstand], the cover isn’t nec-
essarily indicative of what to
expect inside, but usually has
some reference to a story in it,”
Andrews notes. “So we use the
best image that works graphi-
cally and photographically.”
Ingham is now in the process
of editing the motion work he
made in Rwanda as a personal
project. He’s also working on a
new sports-related assignment
for Asics, photographing ath-
letes all around the world. But
he’s keen on watching the tra-
jectory of the young African rid-
ers he met in Rwanda, who are
starting to make their way onto
the international cycling stage.
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Both Photos © Ben Ingham
The festive atmosphere among the spectators was as much a part of Ben Ingham’s story as the bike racers.
3-3/8 x 11-1/2
off the wet asphalt and dark clouds on the horizon; the
excitement of the spectators, who cheer despite the
weather; and the struggle of the cyclist, standing on
his pedals as he makes his way uphill.
England, he did a preliminary
edit of the work after speaking
with Southam about the text. The article was even-
tually published in three parts, in which Southam
explored three aspects of the race: the enthusiasm
about the race in Rwanda, the state of African rac-
ing and the politics of European racing in regards to
smaller races like this one.
Bleed top, bottom
and outside edge.
“I’m interested in the actual effort that goes into
this,” Ingham says. “I’m interested in what happens to
a person who willingly pushes their mind and body to
the very edge during the course of doing something
they love that involves great effort and pain, and who
has taken years of training, striving and self-denial to
get to a position where they can kill themselves for a
day or a week or three weeks for possibly no prize or
reward, just the chance to do it again. That’s what I find
fascinating, their dedication. So I feel a responsibility
to recognize and understand that, and that’s what I try
and bring back home with me. It is all about them and
trying to tell their story in an honest way.”
Ingham’s edit included images taken with his Leica
(he continues to shoot film rather than digital whenever
time and budgets permit, he explains) as well as stills
from a video he shot with a Canon 7D. Ingham brought
his photo picks to Andrews, and together they chose the
ones that would be used in the magazine layouts. For
the cover of the issue that contained part one of the ar-
ticle, they ran an image that shows a group of women
with just their shoes and hemlines in the frame. It was a
still from a video clip Ingham made of their dresses flap-
ping in the wind near the race start line.
But the cyclists weren’t the
only people Ingham focused
on. “The racing is hard. It’s always great to see,” he says. “But
it was the crowds that captivated me more than anything.
The race was a moving carnival in a place where nothing
really happens and it brought
with it respite and great joy to
onlookers and villages.” In the
smaller towns along the route,
the spectators displayed pure
excitement and Ingham loved
photographing the cross section of people—from kids working in the fields to prostitutes
hanging around—who were all
equally fascinated by the event.
