Shocking Moment Photographer Steps on Cow’s Head: Gulshan Khan’s Unforgettable Shot

It was a challenging task. While capturing images in Johannesburg for World Environment Day 2018, I decided to trace where our garbage goes and ended up at Robinson Deep, the city’s oldest and largest landfill. I had a vague notion about the final destination of our discarded items, but witnessing the sheer volume and permanence of the waste was a revelation. The odor was overwhelming, and the sound of machinery grinding against the backdrop of tiny mice squeaking beneath massive piles of refuse was haunting. At times, I trod on unseen objects below, once even stepping on a cow’s skull—thankfully, I wore rubber boots, unlike many workers there who lacked basic protective gear like gloves, masks, or proper footwear.

The picture of a man with a massive bag draped like a cape, and an ibis flying above him, was captured using a telephoto lens. He was too far for me to catch up and learn his name before he vanished over a hill, but I interacted with many others. They shared stories of sickness from landfill work, yet having no alternative. Some prepared and consumed their food on site, and others even resided there. I remember when a truck dumped fresh trash, and everyone dashed towards the cascade of refuse to salvage anything valuable like plastics or glasses to exchange at buy-back centers for a bit of money. This scenario isn’t unique to Johannesburg; it’s a daily event at landfills worldwide.

These scavengers, such as the man in the image, often go unnoticed by society’s upper echelons. They blend into the landscape, yet live on the edge. Many are extremely vulnerable and depend on substances to cope. Nyaope, a form of heroin, is particularly prevalent in Johannesburg. At some buy-back centers, drugs are sold right at the entrance. People turn in collected waste, receive some cash, and often spend it on drugs right there. It’s a vicious cycle of despair. It’s bewildering that our society allows such exploitation of its most vulnerable members.

A significant part of my work is about comprehending the world and my place within it. It leads me to locations I wouldn’t normally visit and to conversations with people I wouldn’t typically meet. This helps me confront my own blind spots. We often discuss our disconnection from nature in the context of the climate crisis, but this image reminds us that we are fundamentally linked to our environment. Both the bird and the man are in search, highlighting our shared struggle for survival. The bird, while not a vulture, symbolizes the pervasive presence of hunger and death.

My photography aims to balance aesthetic appeal with the power to provoke thought and stir emotions. It’s crucial to focus on the substance behind an image and not just its beauty. I strive to foster empathy without overlooking the underlying issues. However, the notion of objectivity in journalism is more myth than reality. Even with ethical and balanced reporting, the choices of what to include or exclude in a frame reflect personal biases.

As a South African, I am deeply committed to fighting injustice. Belonging to the last generation that grew up under apartheid, and coming from a family active in anti-apartheid movements, I have a profound understanding of segregation and systemic injustice. Memories of my mother being taken to jail by security forces, and of her giving away our furniture to those in need, have instilled in me a sense of radical care derived from our deep interconnection with the world. These experiences continue to shape my work today.

Profile of Gulshan Khan

Born: KwaZulu-Natal, South Africa, 1983.
Trained: The Market Photo Workshop, Johannesburg.
Influences: Santu Mofokeng, Toni Morrison, Nan Goldin, bell hooks, Nina Simone.
High point: “Having my work acquired by the Iziko South African National Museum. To have documentary photographs of our community in a public archive is a great milestone for me, especially after so many generations of erasure.”
Low point: “Knowing that photography does not always save or even tangibly help the people in my images. It can make an impact, it can move hearts, it can sometimes affect policy or raise funds for a cause. But mostly, it does not save the people who have shared their stories.”
Top tip: “Move with empathy and kindness in the world. Try to look beyond your blind spots; this is ultimately what influences your frame.”