Award-winning study by Tipperary photographer is part of our identity

Very often journalists struggle to find the appropriate words to truly capture the emotional depth of a story.
The search for the words to give true expression can be a futile exercise leading the reader to rely on the craft of the press photographer.

John D Kelly’s award-winning study of Michael Hogan, the nephew of Tipperary footballer Michael Hogan who was shot by British forces on Bloody Sunday in 1920, illustrates that point perfectly.
It represents the work of a photographer working in the upper echelons of his profession. His picture, named as a winner in the Press Photographers of Ireland annual awards in 2007, invites the reader to absorb an interwoven story about a family tragedy, the bloody struggle for freedom for the country and the GAA.

The study moves the reader to reflect on the magnitude of one of the most iconic moments in our troubled national history, a moment that shaped the identity of the GAA and one that caused generations of grief for a Tipperary family.
The picture was taken in the days leading up to the 2007 historic rugby match between Ireland and England at Croke Park where Michael Hogan had been brutally murdered in front of the Canal End by British forces who stormed the home of the GAA. There was an international media frenzy with tensions rising leading up to the match surrounding the playing of God Save the Queen in the same arena where such an atrocity had taken place on Bloody Sunday on November 21, 1920.

Prior to the rugby match, I accompanied John to the humble homestead of Michael Hogan, who passed away in 2014, to interview the closest living relative of the slain Tipperary footballer.
The kitchen where Michael sat would have hardly changed at all in 87 years, a room full of character and warmth but burdened with a painful and traumatic history.
It was from that same kitchen in Currasilla ,Grangemockler that family members bid Michael Hogan farewell as he set off to represent Tipperary in Croke Park in 1920.

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His nephew spoke about how his family remembered the day and always spoke about that day.
Michael, however, graciously extended the hand of friendship, stated he had no objection to the playing of God Save The Queen in Croke Park, and in a heartfelt expression of forgiveness said he supported the decision of the GAA to host the controversial match.
All that troubled history, emotion, grief, pride, and love of family etched on the face of Michael Hogan was captured eloquently by John.

The patient photographer availed of the soft light streaming in over the stack of papers on the window sill to take a picture that did justice to the dignity and humility of Michael Hogan.
Heading back to the office that day we both realised how privileged we were to meet Michael Hogan in his home and listen to him speak in such an honest, open, and insightful way.
His understated humanity was forever preserved by John.