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Mädchenland | Photographer: Karolin Klüppel

Mädchenland | Photographer: Karolin Klüppel | PHOTOGRAPHERS | Scoop.it

Few kilometers from the border of India, German photographer Karolin Klüppel discovered the tiny, isolated village of Mawlynnong where ‘girls rule the world’. Made up of only 92 dwellings in the East Khasi Hills, the town uniquely operates as a matrilinear society, each family’s lineage traced through the surname of the wife instead of the husband. The result is a culture where female descendants are most crucial to the continuing bloodline and the youngest daughter inherits all family property. Fascinated by this rare singularity, Klüppel spent 6 months with the Mawlynnong women to create Mädchenland (Kingdom of Girls).

Along with the privilege of carrying the family name, girls are expected to take on many responsibilities at a very young age, often caring for 3 generations under one roof. As early as 8 years old, Mawlynnong females can run the entire household and tend to their younger siblings single handed. Despite their isolation from the modern world and a plethora of familial duties, the girls of Mawlynnong experience a life of freedom and reverence all their own.

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Children of the Omo | Photographer: Steve Mc Curry

Children of the Omo | Photographer:  Steve Mc Curry | PHOTOGRAPHERS | Scoop.it

"The Omo River Valley is located in Southwest Ethiopia. It has been called “the last frontier” in Africa. There are nine main tribes that occupy the Omo River Valley, with a population of approximately 225,000 tribal peoples. "


" The majority of the people living in the Omo River Valley live without clean drinking water and without medical care. It has been a privilege to go back to the Omo Valley in Ethiopia with my friend, John Rowe, to photograph the work he is doing with Lale Labuko in their mission to end the practice of mingi and to house and shelter the mingi children who have already been rescued. " 

 

" Lale,  a 2013 National Geographic Emerging Explorer,  learned about the practice of Mingi and made it his life’s mission to end ritual infanticide in his tribe’s culture. " - Steve McCurry

Photo report's insight:

More information: http://omochild.org/videos/lale-labukos-story

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Trouble In The Water | Photographer: Matt Eich

Trouble In The Water | Photographer: Matt Eich | PHOTOGRAPHERS | Scoop.it

Curtis "Rebel" Rageur sits on the bow, hat backwards, eyes watchful. He gives a thumbs-down to Julius Gaudet, 62, letting him know that the line they set the day before is in the water. Julius pulls the boat to a stop near the shore of Shell Island, Louisiana as Rebel searches for the line with his gaff. He finds it, pulling hand-over-fist, as if reeling in a large fish. With a splash, the reptilian head emerges suddenly from the water and Julius leans over the edge, putting one 9mm round through it's brain. The two hunters pull their prey into the boat, tag it and toss it onto the deck, which will soon be stacked high with the rest of the day's haul. Rebel turns to me, wiping blood onto his pants, and with a smile says, "And that's how we do the gator dance." 

 

The state of Louisiana is home to the largest alligator population in the United States, estimated to be almost 2 million. Alligators are North America's largest reptiles and are considered a renewable resource in an industry that has thrived in America's deep south for centuries. The first large alligator harvests occurred during the early 1800s. During the Civil War, alligator skins were used to make shoes and saddles for confederate troops. The alligator farming industry in Louisiana alone annually harvests 140,000-170,000 gators which are valued at over $12,000,000.  - Matt Eich

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Alessandro Zanini's curator insight, February 9, 6:16 AM

Cacciatori di alligatori in Louisiana. 

 

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Serge Bouvet | Photographe Paris

Serge Bouvet | Photographe Paris | PHOTOGRAPHERS | Scoop.it

Que représente le reportage photo pour moi ? C’est un peu l’aventure pour s’étonner de tout. Insatiable avidité de nouvelles rencontres de l’autres, inlassable marée d’images dont la vague laisse sur la pellicules les traces de faits, de portraits, d’événements, de ratés de mises au point, de flou fugitif, de prégnant, de narratif, de trompeur, de plaisir…

Photo report's insight:

Serge Bouvet est un photographe qui officie à Paris. Photographe professionnel, Il apporte aux entreprises, aux industries, aux agences de communication, aux institutions entre autres, son savoir-faire éprouvé capitalisé sur plusieurs année d’expérience de dans la réalisation de projets de communication visuelles photo et vidéo.
 

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Risking life for school | Photojournalist: Beawiharta

Risking life for school | Photojournalist: Beawiharta | PHOTOGRAPHERS | Scoop.it

I went to Jakarta’s business district to find photos of middle-class workers returning to their homes. When I had finished, I realized that I had something different to shoot for the next day. I searched Google maps to find the location of the collapsed bridge but I couldn’t find the exact location. There was a blank map with only the name of the village, Sanghiang Tanjung. Surprisingly, it said the village was just 130 kms (80 miles) away from our Jakarta office – a travel time of about two hours. My estimation was it would take 4 hours.

 

3am Thursday morning, my friend and driver Soewarno and I headed to the village. We reached by 6am. But the difficulty was this village was just a blank area on the map. Also, we had to find the right direction that the students would take, so that I could take a pictures from the front, not from the back. We found many roads in the village but no one knew where the bridge was. With the help of my friends, we were able to get the name of the head of the village, Epi Sopian, who accompanied us to the location. Edi said the bridge collapsed during Saturday’s big flood when wood and bamboo hit the suspension bridge’s pillar.

 

I arrived at the location as the students were crossing. They were already in the middle of the bridge. Oh no, these could not be the children who wanted to go to school, I thought! It was more like an acrobatic show the collapsed bridge as an apparatus and without any safety device at all. They walked slowly, sometimes screaming as their shoes slipped. Suddenly the rain came. A last group of students, Sofiah and her friend, were on the bridge. Happily, all the students crossed safely. I took pictures for no more than five minutes. (...)

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La transfiguration du banal dans la photographie | Conseil photo: Serge Bouvet

La transfiguration du banal dans la photographie | Conseil photo: Serge Bouvet | PHOTOGRAPHERS | Scoop.it

Dans le domaine du business, ne perdons pas de vue que la vente d’un magazine est surtout régie dans nos sociétés occidentales par un levier marketing singulier : l’idéal de beauté. Cela ne date pas d’hier. Je ne souscris pas totalement à cette analyse, mais force est de constater que dans le jeu de la séduction, l’artifice est roi. Dans le secteur du business, il coexiste deux cas d’écoles : l’une prône l’artifice dans la communication visuelle quand la seconde cultive la sobriété. A vous d’en estimer le potentiel selon la charte de la société pour laquelle vous travaillez.

 

"On est comme ça. Nous témoignons par nos aspirations naïves vers la majesté superlative des formes artificielles, d’une certaine répugnance à ce qui est trop réel.

Je considère les artifices comme l’indice d’une appétence pour l’idéal évoluant dans notre esprit au-dessus de tout ce que la vie naturelle y accumule de trop terre à terre, comme une déformation sublime de la nature.

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Façonner la lumière avec des filtres de couleur | Conseil photo: Serge Bouvet

Façonner la lumière avec des filtres de couleur | Conseil photo: Serge Bouvet | PHOTOGRAPHERS | Scoop.it
Un petit retour d’expérience

Ah que l’automne parisien est… terne ! Il est 13h00 ou 18h00, on ne sait plus. Quand on a un ciel de suie pareil en début d’après-midi, notre horloge biologique part en sucette. Alors, quand la voûte céleste est si plombée, pommelée, ou d’ardoise, que faire ? Eh bien, à défaut de prendre un ticket pour le soleil de la côte d’azur avec votre sujet, on s’adapte. On sort les flashs et les boîtes à lumière4 et on tente de faire au mieux.


Pour la photographie, j’utilise deux types d’ampoules : à spirale 5000K BIG ou halogène.  Remontons dans le temps. Par le passé, j’avais acheté des boîtes à lumière qui utilisaient des lampes halogène dit « studio-projection »  de la marque OSRAM, 1000Watts, une température de couleur (T°=3400 K)  assez proche de celle du Tungstène (T°=3200 K).  Au début, malgré ma balance des blancs, mes photos étaient toutes orangées et j’en était fort désappointé. C’est dans le domaine de la vidéo que j’ai compris l’origine de cette anomalie5. J’ai appris que lorsque la température de couleur diffère pour deux sources d’éclairage ou entre une source d’éclairage et le médium utilisé pour enregistrer les images.  Il fallait le savoir.


L’éclairage tungstène affiche une température de couleur inférieur à celle de la lumière du jour. La lampe produit une dominante orangée que je dois alors compenser en y plaçant un filtre bleu devant la source d’éclairage. 

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Les Visages des Puces | Photographer: Andrew Kovalev

Les Visages des Puces | Photographer: Andrew Kovalev | PHOTOGRAPHERS | Scoop.it

Marché aux Puces de Saint-Ouen, located in the suburbs of Paris, is the biggest and one of the oldest flea markets in the world. It is said, that the expression “flea market” itself originates from here. It is a conglomerate of 14 smaller markets, each with its own features and speciality. It is a part of the cultural and historical heritage of France and a place of great touristic interest. Most importantly, it is a sophisticated social organism, a vast community of people who are passionate about their very special craft.

 

The goal of this project is to document the look and the spirit of the place in showing its face and soul. To show incredible diversity of its parts, which are merging together in one entity, while remaining the separate worlds.

 

This series portrays the people of The Market. Those, who live and work there, who actually create, preserve and change the place throughout its years and decades.



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LETTER FROM AFGHANISTAN | Photojournalist: AARON HUEY

LETTER FROM AFGHANISTAN | Photojournalist: AARON HUEY | PHOTOGRAPHERS | Scoop.it

"In the main square in Tirin Kot, the capital of Uruzgan Province, in central Afghanistan, a large billboard shows a human skeleton being hanged. The rope is not a normal gallows rope but the stem of an opium poppy. Aside from this jarring image, Tirin Kot is a bucolic-seeming place, a market town of flat-topped adobe houses and little shops on a low bluff on the eastern shore of the Tirinrud River, in a long valley bounded by open desert and jagged, treeless mountains.

 

About ten thousand people live in the town. The men are bearded and wear traditional robes and tunics and cover their heads with turbans or sequinned skullcaps. There are virtually no women in sight, and when they do appear they wear all-concealing burkas. A few paved streets join at a traffic circle in the center of town, but within a few blocks they peter out to dirt tracks.

 

Almost everything around Tirin Kot is some shade of brown. The river is a khaki-colored wash of silt and snowmelt that flows out of the mountain range to the north, past mud-walled family compounds. On either side of the river, however, running down the valley, there is a narrow strip of wheat fields and poppy fields, and for several weeks in the spring the poppies bloom: lovely, open-petalled white, pink, red, and magenta blossoms, the darker colors indicating the ones with the most opium."


Full text of article: http://www.newyorker.com/reporting/2007/07/09/070709fa_fact_anderson

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Only Unity - | Photographer: Matt Lutton

Only Unity -  | Photographer: Matt Lutton | PHOTOGRAPHERS | Scoop.it

Only Unity”: Serbia In The Aftermath of Yugoslavia has emerged from five years of living and working in the Balkans; it is my personal response to the confounding atmosphere of the region. My project presents a psychological portrait of Serbs from across the Balkans as they confront a radically changed landscape within physically contracting borders. Serbia is emerging from the hangover of the 1990s, where atrocities were carried out in their name just across newborn borders, and constructive reflection about the consequences of those years is over due.

 

I am photographing details of society that both reflect and undermine the popular Serbian creation myths. Many issues are rooted in the complicated phrase “Only Unity Saves the Serbs” which was popular in the narrative of mass political manipulation during the disintegration of Yugoslavia and the wars that took place in its vacuum. Serbia is still recovering from the post- traumatic stress of those years, leading to a national confusion about their identity and a productive path forward.

I have focused on diverse subjects within the Serbian landscape which are far removed from any reality espoused by politicians. Young men and women are being raised in a divided, uncertain atmosphere and I hope to capture that essence so that we can further consider the implications of a Balkan region that is led by this generation. It is impossible to analyze or understand any event in this region without first considering its historical roots. I am interested in exploring and understanding the parts of today’s Balkan society that the next generation will read about in their history textbooks. What is happening now in the streets and in political negotiations will have profound impact on regional stability in the future.

 

There are many elements that contribute to a hostile and sometimes desperate atmosphere in Serbia today. But there too are moments that show healing and a glimpse at a different future than many have seen for themselves in the last decade. The growing pains of this developing democracy must continue to be carefully documented and explored, as the battles of the 1990s have yet to be finally played out. I’ve experienced alarming apathy and lack of compassion from many youth across the Balkans, and I hope to confront them directly with a different picture of the countries and history they will inherit. I hope my pictures will help bridge local borders, real and imagined. - Matt Lutton

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“Gaia,The Birth Of An End” | Fine art photographer: Kirsty Mitchell

“Gaia,The Birth Of An End” | Fine art photographer: Kirsty Mitchell | PHOTOGRAPHERS | Scoop.it

"Tonight it’s dark in the studio, and I’m curled up in my chair staring at this blank page, about to write the first Wonderland diary entry in 9 long months.. Outside its raining, and this morning brought the first frost I have noticed since last winter. Earlier, as I walked to work I stopped and watched a flutter of yellow leaves circle my boots, reminding me fondly of the cloak I made for ‘The Journey Home’ almost one year ago to the day. These fragments of seasons have become like old friends I find myself silently greeting, one by one as they return unannounced, blown by the autumn wind.


The landscape is changing in colour and I’m hoping for snow, as there is still one last picture I need to create before I can let the story complete. But for now, after months of work I am finally ready to let this last chapter unfold, of what has since become the last 4.5 years of my life.  I still can’t imagine the day I write the words ‘The End’ but it is slowly becoming a palpable reality, which leaves a bitter sweet emotion in my gut. The pictures I have created over the last few months have at times pushed me to my limit, and I know I have learnt so much about myself in the process.


I have had days when I have never felt to so happy to be alive, standing in the woods with my camera, so grateful for every precious moment ….. and others where my own crushing lack of self confidence has made me sick with worry, as to whether or not I have created something good enough. It is always the same with me …. all or nothing, the highest highs and lowest lows, but throughout it all I can say I have tried my hardest. I faced challenges I was genuinely scared of, but forced myself through as they were the only way to produce the ending I always dreamt of. So I just wanted to say how thankful I am to the people who have been on this journey with me and taken Wonderland into their hearts, both the followers of the project and the irreplaceable tiny team I work so closely with."- Kirsty Mitchell 

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Martin Lea's curator insight, November 25, 2013 3:52 AM

More digital imaging than photography but really creative and beautiful.........

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Bibi Aisha | Photographer: Jodi Bieber

Bibi Aisha | Photographer: Jodi Bieber | PHOTOGRAPHERS | Scoop.it
Photo report's insight:

Bibi Aisha (Pashto: بی بی عایشه‎; Bibi is a term of respect meaning "Lady"; born Aisha Mohammadzai, legal name Aesha Mohammadzai) is an Afghan woman whose mutilated face appeared on the cover of Time magazine in summer 2010. Her story first appeared in the Daily Beast in December 2009, which prompted doctors to write in offering to help her. The Grossman Burn Foundation in California pledged to perform reconstructive surgery on her and began organizing for her visa in the early spring of 2010. Diane Sawyer of ABC News also covered her ordeal in March 2010.

 

In a practice known as baad, Aisha's father promised her to a Taliban fighter when she was 12 years old as compensation for a killing that a member of her family had committed. She was married at 14 and subjected to constant abuse. At 18, she fled the abuse but was caught by police, jailed, and returned to her family. Her father returned her to her in-laws. To take revenge on her escape, her father-in-law, husband, and three other family members took Aisha into the mountains, cut off her nose and her ears, and left her to die. Bibi was later rescued by aid workers and the U.S. military. Some sources disputed the role of any members of the Taliban in her mutilation at the time it happened.

Aisha was featured on an August 2010 cover of Time magazine and in a corresponding article, "Afghan Women and the Return of the Taliban."

The cover image generated enormous controversy.

 

 The image and the accompanying cover title, "What Happens if We Leave Afghanistan," fueled debate about the merits of the Afghan War.

The photo was taken by the South African photographer Jodi Bieber and was awarded the World Press Photo Award for 2010. The image of Aisha is sometimes compared to the 'Afghan Girl' photograph of Sharbat Gula taken by Steve McCurry.

Shortly after Time's cover ran, Aisha was flown to the United States to receive free reconstructive surgery.

 

In May 2012 CNN.com ran an article about Aisha's activity. Since coming to the United States in August 2010, surgeons concluded she is mentally incompetent to handle the patient responsibilities in the surgical recovery regimen. Her psychologist, Shiphra Bakhchi, diagnosed her with borderline personality disorder, which may have been innately pre-existing throughout her life. She was taken in by the Women for Afghan Women shelter in Queens, New York and has subsequently moved to a family situation in Maryland.

 

The May 2012 CNN article by Jessica Ravitz explored the challenges faced by Aisha during her integration into a globalized world. "[S]he's been passed around by well-meaning strangers, showcased like a star and shielded like a fragile child," Ravitz reports. Its focus on Aisha as an autonomous person, rather than a poster child, serves as a portrait of the difficulties faced by trauma survivors and those that assist them.

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BOLE SO NIHAL | Photographer: Mark Hartman

BOLE SO NIHAL | Photographer: Mark Hartman | PHOTOGRAPHERS | Scoop.it

New York City-based photographer Mark Hartman spent most of March and April 2014 in India working on personal projects, including these images from his series “Bole Sol Nihang” portraits of Nihang Sikhs. Sikhism was founded in the Punjab Region in 1469 by the Guru Nanak. There are now 26 million Sikhs living around the world, making it the world’s fifth largest religion. Nihang Sikhs, also known as the “eternal army,” are the army of the 10th Guru of the Sikh tradition, Guru Gobind Singh.

 

The Nihangs and all Sikhs believe all people should have the right to practice any religion and follow any path they choose. Nihangs are known for their fearlessness, bravery and successful victories in battle, even when heavily outnumbered. According to Hartman, their way of life has not changed for more than 300 years, living a “nomadic, spiritual life” that is “unattached to the world.” Thanks to what he calls his “magic powers,” Hartman was granted access to this unique group of Sikhs while he was traveling in Amirtsar and Anandpursahib, in Northern India, Punjab.

 

“I have not seen anyone set up on-location portraits of the Nihang Sikhs,” Hartman writes about the work. “My curiosity and interest in their philosophy fueled my desire to learn more about them, and inspired me to create the work. My favorite photos of them were made well-over 100 years ago. I felt a necessity to make images of them in modern times. I have always loved the portrait work of August Sander and Edward Curtis. Their work is about the subject; nothing else. I choose to photograph these people in a similar, very straightforward manner, working within my vision. I isolated the subject, set up the scene and composition while interacting with the subject, and finally photographed the subject.”

- See more at: http://potd.pdnonline.com/2014/05/26787#gallery-6

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Steve McCurry on photography's globalised challenge | Phaidon

Steve McCurry on photography's globalised challenge |  Phaidon | PHOTOGRAPHERS | Scoop.it

Steve McCurry, the brilliant Magnum photographer, is forever travelling the globe. So it's probably best to pay attention when he talks about how the world is changing. In an interview with the US website, American Photo, based around his latest book, Untold: The Stories Behind the Photographs, the photographer laments the planet's growing homogeneity.

He explained to the magazine that, when in Atlanta late last year, he went out looking for a high-density neighbourhood, like those found in Brooklyn or Queens, in which to shoot some pictures. "But nobody really walks there," he marveled. "It's like LA. There's virtually no pedestrian traffic unless you're somewhere like Sunset Blvd."

This narrowing of aesthetic diferences is something that Steve has noticed the world over. "When I walk through an airport, I think, 'This is the future.' All airports look the same. They're steel and glass. You walk through a shopping mall in India and it could be in Cleveland. There's almost no difference."

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In the Shadows of Kolkata | Photographer: Souvid Datta

In the Shadows of Kolkata | Photographer: Souvid Datta | PHOTOGRAPHERS | Scoop.it

“My first inspirations were world-changers like James Nachtwey, Don McCullin, and Steve McCurry. I firmly believe that photography has a role to play in provoking thought, spurring dialogue, and prompting action—therein being a potentially potent ingredient in an antidote to social evils.

“Photographs are informative, a record of what we do and value, and contribute important subjective testimonies for history.

 

That said, worldwide trafficking is a $32 billion industry, with over 700,000 women moved across international borders annually. It is not at all realistic to imagine photos making any substantial dent to improve this situation. The photos I take will do little to directly improve the lives of women and children in Sonagachi.

 

“To do this would take massive political, economic and legal overhauls, not to mention years of reshaping social values. This was one of my hardest realizations when following apparently humanistic callings. That images can, however, give people a voice and better inform a public debate, is some journalistic consolation. What makes it immediately worthwhile for me is the experience of earning an individual’s trust, and for a while, touching lives, sharing stories and learning from each other in a dignified, respectful, curious manner. This is the only honest thing I can convince people of offering them, and surprisingly it is also what seems to open the most doors for me.” - Souvid Datta

Photo report's insight:

Mumbai-born photographer Souvid Datta is a young man of 21 whose age puts him somewhere in between the subjects he’s been documenting in the infamous red-light district of Kolkata, India and the subjects’ children. His series, In the Shadows of Kolkata, portrays a close-knit group of female sex workers, a few of their clients, and their children. Exploring the lives of sex workers as a photographic “theme” never fails to affect, and seeing children interspersed into this work adds another layer of difficult material to digest, question, process

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1503 | Fine art photographer: CHRISTIAN TAGLIAVINI

1503 | Fine art photographer: CHRISTIAN TAGLIAVINI | PHOTOGRAPHERS | Scoop.it

With his already legendary series »1503« Christian Tagliavini invites the viewer to a time travel to the 16th century. His protagonists bear names such as Cecilia, Lucrezia or Bartolomeo, they are gracile, graceful or mighty and all of them express the pride of the Renaissance. In the style of the Florentine Agnolo di Cosimo, in art history better known as Bronzino, Tagliavini gives the patina of Mannerism to his modern sitters. The title of the series »1503« is also a reference to Bronzino’s year of birth.

 

The artist does not only stages the image space or places the light. The accurate spadework of each portrait is an inalienable foundation for the accomplished work that attracts the recipient. From the casting over the design of the dresses through to the makeup, Tagliavini is the indicatory player in every single operating procedure. The universal artist creates a piece of art that is the result of this creative process – the traces of them meet up in the final work and culminate in something sublime.

 

By doing so, the artist perfectly succeeds in the challenge of citing art history without simply copying it. Finally, with a productive period of more than 13 months the series »1503« has become an impressive testament of the visionary creative richness of the avant-gardist Christian Tagliavini. 

Photo report's insight:

Born in 1971, Christian Tagliavini grew up in Italy and Switzerland. He had studied graphic design and worked as an architect and graphic artist before he focused on photography art in 2000. Additional fine arts such as architecture, graphic design or drawing have influenced his art until today. His biographic background also shaped his understanding of art to invent and construct works. His works cannot only be seen as images, they are complex pieces of art, which have their roots in different materials. Tagliavini’s creative work is mostly mirrored in series that tell stories, offer multifaceted quotes or which are the result of an unusual contemporary concept. His works have been exhibited in numerous exhibitions and art fairs worldwide. Christian Tagliavini, who was honoured with the Hasselblad Masters Award in 2012, lives and works in Switzerland today.

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Rob Vonmeulen's curator insight, January 8, 5:08 AM

Back to 1500 .... 

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Courage in the face of brutality | Photournalist: Ulises Rodriguez

Courage in the face of brutality | Photournalist: Ulises Rodriguez | PHOTOGRAPHERS | Scoop.it

The clock on the wall marked four in the morning. It was a cold and wet Saturday in July, but I was sitting in the warm offices of El Salvador’s Red Cross. Suddenly, the relative calm and silence in the emergency unit was interrupted when the phone rang. The loud noise made me jump. The phone operator said: “What is your name? If you don’t identify yourself, we can’t help you.”

 

I went to the operator and asked him what was happening. He said that there had been a report of a woman who had been beaten, raped several times and then left for dead in a ditch. He said that they would take her to hospital because of the severity of her injuries and I asked to go along.

 

When I got to where she had been found, I saw a woman dressed in a baby blue dress that was dirty all over, with a face disfigured by the blows she had received. She was disoriented and her gaze seemed lost in a void. She kept on repeating that her name was Claudia (...) - Ulises Rodriguez

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Dark Isolation, Tokyo | Photographer: Salvi Danes

Dark Isolation, Tokyo | Photographer: Salvi Danes | PHOTOGRAPHERS | Scoop.it

There is an undeniable nucleus of initial interest, a question that from the occidental perspective is easy to think about. How does a society really live, each of its members, in a human and social organization which is apparently exemplary and with an enviable lifestyle? There is a feeling that despite enjoying all the comforts of a modern society, the inhabitants of Tokyo are far away from what was, conventionally, understood as an ideal of happiness.

It is easy to find oneself isolated and alone among a crowd. Enjoying the comfort and economic safety is not a synonym of complete personal realization. A frenetic pace of life can ruin any personal initiative and any possibility of creative life.

From this clash, I could observe a dislocation of the people of this huge metropolis, as if they did not strike a balance between feeling isolated and alone among the crowd.

To sum up, the paradox was solved in a manifestation of solitude, in a great distress, in a sensation of individual frustration. Was that possible to detect and turn it into images? A difficulty due to the fact that I had to face up a perception of a completely subjective and debatable reality. It is not easy to show the breathlessness of the Taboo, the passive attitude or the nightmare of routine.—Salvi Danes

Photo report's insight:

Salvi Danes is a Spanish photographer based in Barcelona, Spain. His work has been honored by the Lucie Foundation, Sony World Photography, IPA, and many others. This work is from his series, Dark Isolation: Tokyo.

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Rajasthan 2D | Fine art photographer: Serge Bouvet

Rajasthan 2D | Fine art photographer: Serge Bouvet | PHOTOGRAPHERS | Scoop.it

"Nothing better reflects the strangeness of a people than the environment in which he lives. So I decided to import a part of India in Europe, framed in a bus shelter or ad showcase to create an open-air museum. Sometimes it coexists funny interaction between the two dimensions. These photos are a poetry of Rajasthan." - Serge Bouvet

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Not in vain | Photographer: Christina Paige

Not in vain | Photographer: Christina Paige | PHOTOGRAPHERS | Scoop.it

Christina is a graduate of the International Center of Photography's program in Documentary Photography and Photojournalism. She was chosen as one of Photo District News's 30 Emerging Photographers for 2008, where she was described as finding "grace and bits of humor swirling in the maelstrom of everyday life." Before becoming a photographer, she worked as a clinical social worker with Spanish-speaking communities in California and Massachusetts. She lives in Brooklyn with her husband and daughter.

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In the Shadow of Wounded Knee | PHOTOGRAPHER: AARON HUEY

In the Shadow of Wounded Knee | PHOTOGRAPHER: AARON HUEY | PHOTOGRAPHERS | Scoop.it
After 150 years of broken promises, the Oglala Lakota people of the Pine Ridge Reservation in South Dakota are nurturing their tribal customs, language, and beliefs. A rare, intimate portrait shows their resilience in the face of hardship. 

Almost every historical atrocity has a geographically symbolic core, a place whose name conjures up the trauma of a whole people: Auschwitz, Robben Island, Nanjing. For the Oglala Lakota of the Pine Ridge Indian Reservation that place is a site near Wounded Knee Creek, 16 miles northeast of the town of Pine Ridge. From a distance the hill is unremarkable, another picturesque tree-spotted mound in the creased prairie. But here at the mass grave of all those who were killed on a winter morning more than a century ago, it’s easy to believe that certain energies—acts of tremendous violence and of transcendent love—hang in the air forever and possess a forever half-life.

 

Alex White Plume, a 60-year-old Oglala Lakota activist, lives with his family and extended family on a 2,000-acre ranch near Wounded Knee Creek. White Plume’s land is lovely beyond any singing, rolling out from sage-covered knolls to creeks bruised with late summer lushness. From certain aspects, you can see the Badlands, all sun-bleached spires and scoured pinnacles. And looking another way, you can see the horizon-crowning darkness of the Black Hills of South Dakota.

 

One hot and humid day in early August, I drove out to interview White Plume in a screened outdoor kitchen he had just built for his wife. Hemp plants sprouted thickly all over their garden. “Go ahead and smoke as much as you like,” White Plume offered. “I always tell people that: Smoke as much as you want, but you won’t get very high.” The plants are remnants from a plantation of industrial hemp—low-tetrahydrocannabinol (THC) Cannabis sativa—cultivated by the White Plume family in 2000.

Fuller text: http://ngm.nationalgeographic.com/2012/08/pine-ridge/fuller-text 
Photo report's insight:

Aaron Huey is a National Geographic photographer and a Contributing Editor for Harper's Magazine. He is based in Seattle, WA.

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Translations | Photographer: Sofie Knijff

Translations | Photographer: Sofie Knijff | PHOTOGRAPHERS | Scoop.it

"Over the past years, Sofie Knijff has travelled across South Africa, India, Mali, Brazil, Iceland and Greenland to portray children and their fantasy worlds & dreams. Her aim was to isolate them from their surroundings, and daily lives, and focus their attention to reveal their own “dream character”. By using the same backdrop, she created a stage on which the dreams could come to life. The challenge was to build a subtle and yet sustained level concentration to capture the moment of transformation. At the same time, she took images of the empty spaces in which the same children live; allowing to create a set of images where the inside and outside mirror and influence one another. The impact of time underpins this project." - Sophie Knijff 

Photo report's insight:

Belgian-born photographer Sofie Knijff has spent the last three years traveling the world making portraits of children and asking them one question: what do you want to be when you grow up? With limitless imagination the children answer, dressing up as their future selves in a series she calls Translations. By using similar backdrops for each child, Knijff strips them of their current surroundings in order to focus more intimately on their “dream characters.”

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LAST BEST HIDING PLACE | Photographer: Tim Richmond

LAST BEST HIDING PLACE | Photographer: Tim Richmond | PHOTOGRAPHERS | Scoop.it
Photo report's insight:

Tim Richmond‘s American West – depicted in Last Best Hiding Place – can be placed anywhere onto the continuum that has the myth at one end and the artist’s unique vision at the other end. It’s a place filled with characters and locations that manage to be specific and completely generic at the same time, with a rough, somewhat hurt, tenderness underneath. I can’t help but think that the photographer is very much aware of what he is taking pictures of, given there appears to be a balancing act at play: Every stereotype is depicted, to be subverted right away or elsewhere. There are cowboys, sure, but they have baby faces underneath their stubble.


Richmond’s West ends up throwing stereotypes and preconceived ideas back at us, reminding us that what we’d like to think of as real is really of our own choosing. What we find is what we’re looking for. Here, photography comes full circle, because it is always at least that: A quest for that, which we already know. And as long as we’re not deluding ourselves into thinking there’s more, we’re in good shape.

 

I’ve written many times that photography really only excels when it’s being done with its own limitations in mind. These limitations arise from the technical nature of the medium in more ways than one. The properties of the camera have as much to do with it as the fact that a photographer is pointing the camera into some direction, at something in the world.

 

A long time ago, photographers were able to point their cameras at the world, a world not weighed down by preconceived ideas and earlier photographs. Now, when you point your camera at the world, you’re really pointing it more at all those images in our minds than at the world itself.

The secret then is to make this work, to produce photographs that can still stand on their own, while acknowledging all the ones that came before them. Tim Richmond‘sLast Best Hiding Place does just that, and it does it well.

All photographs © and kindly provided by Tim Richmond 


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Jean-Marie Grange's curator insight, October 9, 2013 12:39 PM

Depressing America...