November-December 2014 … The Global Online Magazine of Arts, Information & Entertainment … Volume 10, Number 6
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Category — Photography

Gene Lowinger / Photographer

121006_029_sep2© Gene Lowinger

Street scene in New York City

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The World As I See It

on the streets of New York City

with Chuck Haupt, Photography/Layout Editor 

Gene Lowinger’s career began as a musician, transitioned to author, and then photographer whose work captures the faces of NYC, out on the streets….

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Q: You had quite a career as a musician, fiddling with Bluegrass legend Bill Monroe. How did you develop your passion for photography?

A: In the 1980s I began to SCUBA dive and loved the underwater colors and shapes, so I bought a Nikonos V camera and strobe. The Nikonos 35mm lens was also good for land photography, so I photographed the exotic locations to which I traveled to do my diving. After developing a bad case of pneumonia with residual lung problems, I had to discontinue my diving. But I’d already been bitten by the photography bug. I took a few courses at the New School in NYC, including b/w darkroom. I had some inspiring teachers.

Q: How did you happen to concentrate on being a documentary street shooter over other styles of photography?

A: My darkroom teacher, Mario Cabrera, was a stringer for Associated Press and he talked a lot to me about photojournalism. His teacher, Ben Fernandez, who was the head of the photo department at New School, was a documentary photographer. Between the two of them they got me interested in documenting life and times. I did other types of photography also − landscape, nature, macro, etc., but it was documentary/photojournalism that really gave me goosebumps.

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Gene Lowinger / Streets Scenes from the streets of NYC

very cold day in New York

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Houston Street

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West 14th Street

All photos © Gene Lowinger. Used with permission.

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Q: The tone of your black & white photographs is very rich. Why do you like it over color?

A: I originally shot color slide film – especially Kodachrome. But I really enjoyed the darkroom process of b/w (except for developing the film itself, which I really hated). Making the manipulations and seeing the prints come alive in the developer was very exciting. I try to create images that tell a story. When someone looks at my image I want them to see the story, not the pretty colors of the clothes or the scenery. With b/w I have much more control over how the viewer’s eye moves through the image. And I like the abstraction of using just tones of gray, black, and white for my work. That’s not to say I don’t appreciate others who work in color. B/W is just the way I see when I shoot.

Q: How do you decide who to photograph while on the street? Ever get confronted by a person after you photograph them? If so, how do you handle it?

A: I don’t think about it. When I’m out walking around I let my intuition take over. All the thinking is done beforehand. I have in the back of my mind the kinds of situations and/or subjects I want to shoot. I look for people with interesting expressions or interesting  juxtapositions with their environment. I try to catch interactions between two people. I’m usually pretty close to my subjects and I use wide to ultra-wide lenses – 35mm equivalents of 15mm, 21mm, 24mm, and 35mm. Rarely longer than that unless I’m doing a portrait or a performance. I’ve been confronted, but not often since I’m very unobtrusive (sneaky). When a person becomes confrontational I just keep walking. If they follow me I go into a store and they never follow. Sometimes when people have asked why I’m taking photos, I tell them I’m working for the FBI or NSA. That gets a chuckle and breaks the ice, then I can have a pleasant conversation with them. I give them my card which has my website and blogsite on it.

Q: What cameras do you shoot with? How do they help with your style of photography?

A: At first I used a Nikon D700. But when Fuji came out with the X-Pro1 I jumped on it. I love the optical viewfinder. The size of the camera and lenses make it easy to carry around for long street walks and they don’t draw attention like the big ‘howitzer’ Canons (get it?) and Nikons. I also like the Fuji X-T1 very much. It’s smaller than the X-Pro1, but doesn’t have the optical viewfinder. The amazing quality of the EVF makes up for that. And I especially like that everything I need to change or control on the fly is available to me on the top of the camera with analog dials. I can see in an instant how the camera is set and make changes if I need to. No menus to scroll through. I shoot with zooms and prime lenses, depending on my mood and the particular situation. The Fuji 10-24mm zoom is a wonderful lens that allows for great flexibility on the crowded streets of NYC. But it’s a relatively large lens, so sometimes I take my 14, 23, and 35mm lenses with me. But I don’t obsess about equipment.  Learning to work with what I have to get what I want is more important.

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Gene Lowinger / The Jewish Diaspora, NYC

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Crown Heights

House of Sages on East Broadway.

All photos © Gene Lowinger. Used with permission.

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Q: You spend a lot of time on the Lower East Side documenting the Jewish neighborhood. What do you hope to become of this project?

A: I began that project over 20 years ago as a self-exploration. I’ve expanded the scope of the project now to cover areas of Brooklyn, upstate New York, and New Jersey. I’ve had several shows of the work as it developed, and eventually I will try to get a book put together.

Q: Which photographers have and still do inspire you?

A: The two at the top of my list are W. Eugene Smith and Garry Winogrand. I’ve been looking at their work for many years and every time I revisit them I see something new. It’s like playing a great piece of music by Bach. I’ve studied his solo works for violin for over 50 years and every time I practice one of the pieces I see and hear new things in it. Beyond those two photographers, I really like Robert Frank, Walker Evans, all the FSA photographers, the New York Photo League. More modern photographers such as Tim Hetherington, Joao Silva and Greg Marinovich of the Bang Bang club.

Q: What more can we expect to see from your photography in the future?

A: The Lower East Side project has a ways to go yet. It’s expanded into much more than I originally thought, so there’s quite a bit of work to do with it. I hope to start traveling, especially to Israel, next year. It’s an oasis of development and growth in a part of the world that always seems to be falling apart and in conflict. I’ll probably always stay with b/w, but maybe experiment a bit with color.

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See more from Gene Lowinger at: 

www.genelowinger.com and genelowinger.blogspot.com

About the interviewer: 

Chuck Haupt is Photography/Layout Editor of Ragazine.CC. You can read more about him in About Us.

This interview was conducted via email in October 2014. 

November 6, 2014   Comments Off on Gene Lowinger / Photographer

Photo Editor Choice/Nov-Dec 2014

 

thePHOTOGRAPHYspot

 

1_NeilCraver©_2014©2014 Neil Carver

Omni-Phantasmi #1

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Omni-Phantasmic

Neil Carver’s series, “Omni-Phantasmic”, features underwater nudes as they portray the submersion of a conscious mind in the cloudy waters of the subconscious. Carver explains that the series is a visual voyage of metamorphosis into the subconscious waters of the mind: “The ultimate metaphysical quest into the undercurrent of consciousness.”

As he says in a foreword to the series: What you can perceive and process is an extremely finite portion of what you receive from the physical environment. And to truly grasp the vexing questions of your inner facilities, you must open yourself to a flood of unrestricted information. So one must dive into the cloudy placid waters of the subconscious world to uncover a linkage between the conscious and the subconscious mind. Once the excavation is started; the illumination of the self imposed restrains of values, ideas, and moral codes will dissolve. When the subconscious floods pass society’s imprisonment; starting a process of uncontaminated awareness; a penetrating understanding will unfold!

 

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Omni-Phantasmi #2

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Omni-Phantasmi #3

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Omni-Phantasmi #4

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Omni-Phantasmi #5

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Omni-Phantasmi #6

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Omni-Phantasmi #7

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Neil Carver quickly became mesmerized by the creative process as a young boy. Beginning as an abstract painter and figurative sculptor, his motivation grew from an interest in chroma and psychophysical effects of these stimuli acting upon his five known senses. His creations are the exploration of his inner faculties in the pursuit of knowledge expressing “original thoughts”. Photography, he says, holds all the intrinsic values of all the other arts, but differs in the fact that it’s the foundation of existence. 

“Nothing can exist without the photon and every aspect is controlled by it’s usage.” 

See more of the series at www.omni-phantasmic.com

November 6, 2014   Comments Off on Photo Editor Choice/Nov-Dec 2014

Mia Hanson, Photographer/Interview

Ida and Disa

Ida & Disa, photo by Mia Hanson

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Hotel Chelsea Girl

Artful existence lets the light shine in

 with Mike Foldes

Mia Hanson is one of those photographers who seems to sense the aura that surrounds her subjects, and then seeks to capture it with her camera. While many of her images are portraits, what separates her from so many portrait photographers is her ability to go beyond the mechanics of finding a location, setting up lights and filters, and pushing the shutter release. It’s evident she’s looking for more and finding it. No “same old, same old” there. A California native who grew up taking the daily dose of sunshine for granted and then living in the narrow canyons and uncertain weather of New York, Hanson’s experienced eye readily goes to light and shadow – principally light, as seen in the connectedness of Ida and Disa, the pale fluidity of “Victorian Kiss,” and even the sky seen through a matrix of bare limbs.

Hanson’s credits include a number of album, magazine, and book covers, as well as extensive work in fashion photography and commissioned portraiture. Some of her experiences living in the illustrious Hotel Chelsea are documented in an interview that took place in 2006, three years before the hotel closed.  Hanson lives with her artist husband Hawk Alfredson, whom she met in 1997. They live in Washington Heights, New York City. An interview with Alfredson, and a gallery of his paintings, appears here:

http://old.ragazine.cc/2014/08/hawk-alfredson-interview/

 

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Ragazine: To begin with, how did you happen to move into the Hotel Chelsea?

Mia Hanson: Hawk and I met in Park Slope, Brooklyn, in 1997- four years before we moved into the Hotel. We lived in Sweden two years after we met and decided to come back to NYC in 2001 since we soon missed the charged energy of the city. For our homecoming week, we decided to try out being Hotel Chelsea guests since we hadn’t nailed down an apartment of our own yet. It took about a day for me to realize that I didn’t want to live anywhere else in NYC but the Hotel. 

Everyone we knew just assumed this wasn’t possible since we had little money and knew not a soul in the building.  But I grew attached to the place quickly and knew the Hotel wanted us there. It’s a sentient building. Everyone who lives there will agree with this.  If the building doesn’t like you, you will be driven mad.  After the firm decision that the Hotel would be our new home, it was obvious that the next step would be to talk to owner and operations manager Stanley Bard. “Talk to Stanley about it”- that was the catch-all phrase for everything Hotel Chelsea. One day we made an appointment to show Stanley our respective art portfolios and he then immediately showed us a couple rooms from which we chose #421- located on the north-facing side, with the balconies out front. Then, we may have spoken briefly about monthly rent…and before we knew it we had the keys and were hanging up Hawk’s paintings sporadically on all 10 floors wherever there was open wall space to be found!

Hawk and Mia, image by Barbra Walker (2003)

© 2003 Barbra Walker

Hawk & Mia, Room 421, Hotel Chelsea

Q: What was it like when you first moved in?

A: Day One kind of felt like all the Hotel days to me which was generally friendly, with an overall upbeat busy energy to the place, bordering on the chaotic at times. Even if there was a Hotel resident on the 9th floor and you lived on the 4th…they were still your neighbor in every regard. We got to closely know so many of the people who lived there and we still keep in touch with many. Everyone had a unique and diverse story. Film composers, fashion photographers, musicians, even a trans-gender cabaret performer, a U.N. associate diplomat and a kabuki knife-wielding expressionist painter! 

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Mia Hanson

Mia Hanson Photography, V10 N5

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Victorian Kiss, photo by Mia Hanson
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Hawk Alfredson, Kungens Slott, Stockholm, photo by Mia Hanson
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Lea Rodger, photo by Mia Hanson
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Ida & Disa, photo by Mia Hanson
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Ida & Disa III, photo by Mia Hanson
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Terezka Up Close, photo by Mia Hanson
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Terezka the Betrothed Shrew, photo by Mia Hanson
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Hawk Alfredson, in character
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Eva Rhino, photo by Mia Hanson
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Disturbance Central Park, image by Mia Hanson
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Bettina 09, photo by Mia Hanson
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Jennica 6, photo by Mia Hanson
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Tranquility, Central Park image by Mia Hanson

All images copyright Mia Hanson. Used with permission.

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Q: How did the Hotel affect your photographic work?

A: There were two scenic aspects of the Hotel that I really liked to work with. The Hotel’s top floor skylight and the rooftop private garden that belonged to an eccentric cabaret raconteur for many years. The sun energizes me creatively and I like to work with it. While growing up in California, I took varying degrees of sunlight for granted most times and created photo shoots that utilized theatrical lighting both indoors and out as a way of separating myself from the sun-loving culture. It didn’t take long to realize that my most poetic images were photographed outside, in nature, utilizing sun and shadow. While at the Hotel I realized that the sun is my best creative partner.  My photographs really started to feel more sensual and personal because of this, I believe.  

Terezka, the bethrothed _72dpi

Terezka, Hotel Chelsea rooftop, 2004, photo by Mia Hanson

Q:  What do you look for through the lens when setting up a portrait?

A: I try to find the soul of the person in front of me. I try to find the essence of what makes them unique.

Q: Do you approach different people in different ways during a shoot?

A: Yes, every person requires a different approach. Not only are they entering my visual world but I am being allowed to enter theirs as well.  Usually, this requires delicacy. Some I approach carefully if I know they are usually reticent with exposing themselves intimately either physically or emotionally. Others I can play with freely and guide them into uncomfortable positions. It all depends on what a person might be looking for while being photographed. The person in front of the camera has needs and goals for the shoot, too. 

Q: What has been Hawk’s influence on you as a person and photographer? Can you imagine how your life and career would have evolved if you had not met?

A: We have been together now for 17 years and he has definitely helped to develop and sharpen my creative eye in many ways. We like to play a game of observation sometimes. He will  ask me to study a newly finished canvas. Then a day later he will put a singular dot of paint somewhere unexpected and I must find where he placed it. (Hawk comments: She almost always find it, or if I change the colour in an area, or change the shape of something, even if it’s very subtle… she’ll usually finds it.)

Q: If you were able to work with any photographer living or dead, who would it be, and why?

A: First I would take the living. French fine-art photographer Sarah Moon, for example, or Italian Paolo Roversi. I feel these two photographers greatly exemplify the achievement of the elegant, mysterious and the sublime when photographing a person. They always maintain a fierce standard of authenticity while continuing to mystify their audience in beautiful ways.

To go back in time and visit the era of Weimar Germany through the lense of Baron Adolph De Meyer would be unforgettable. Sarah Moon has looked closely at De Meyers work, I believe.

The iconographic ideal of the feminine woman is represented by De Meyer and Moon with great ethereal glamour. Sarah Moon was a fashion model in the ’60s and became an influential fashion photographer by the mid-’70s. She’s known for bringing the “gamine-look” (of the turn-of-the-century) back into style with the pale-faced make-up, shadowy eyes and red doll-like lips. De Meyer was a homosexual man living and working in Germany at a time when being gay was a death-sentence for many; invalids and homosexuals were targeted for death camps in the ’30s along with people of of Jewish descent. I think both Moon and De Meyer are/were searching for their idealized feminine self with every photograph taken.

Q: The feminine form is well represented in your work…?

A: Most likely this can be attributed to the former situation. A search for the idealized feminine self. Now that I am in my mid-40’s, that search has narrowed to simply include a poetic representation of the idealized feminine self. I’m not searching for the mysteries of femininity any longer. There’s a wider angle to the “Unknown” as we mature. Can any camera capture this? That is a realm worth exploring.

Q: What camera equipment do you shoot with?

A: For my personal work, I shoot film. The cameras I have that accept film are a Mamiya (twin lense) that was purchased in Sweden by Hawk’s father in the 1950s. Also, I like working with the lenseless Holga camera – for it’s uncomplicated poetic nature.

The camera is just the groundwork of a photograph. The photographer from there must establish a sense of his or her own presence in the choice of diffusion lenses or diffusion materials as well as printing techniques.

Q: What is the best professional advice you have ever received as a photographer?

A: The best piece of advice took me nearly 20 years to assimilate and it came from a prominent gallery owner in Los Angeles, who only now I recognize as a wise man. The advice was to understand myself as a photographer who methodically works for the long-term to develop meaningful work. At the time I was 25 years old and had moved to NYC from San Francisco to continue my photographic studies while simultaneously landing commercial work. I took his words to be cryptic and unhelpful. But in retrospect, I am living the life he told me I would have. And it’s not a bad life at all. I set my own pace. I follow my own path. 

See more from Mia Hanson:
Photographer’s website: http://www.MiaHanson.com
Hotel Chelsea Interview:  http://www.miahanson.com/interview_ram.htm 

Hawk Alfredson’s page can be seen here:
http://old.ragazine.cc/2014/08/hawk-alfredson-interview/

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About the interviewer: 

Michael Foldes is founder and managing editor of Ragazine.CC. You can read more about him in About Us.

This interview was conducted via email between February and July 2014. 

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August 29, 2014   Comments Off on Mia Hanson, Photographer/Interview

Photo Editor’s Choice / Sept-Oct 2014

 

 thePHOTOGRAPHYspot


Road_Rage_#46_2014_RGB_ragazine©2014 Stuart Lehrman

Road Rage #46  

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Stuart Lehrman’s Road Rage

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All behavior consists of opposites… learning to see things backward, inside out, and upside down. For me, painting is a form of theater and dance that seeks to unify the seemingly contradictory. Like the thread in a window blind that opens and closes to those opposites night/day, love/hate, fear/joy, youth/maturity, inside/outside, life/death – I make one gesture/mark then another, cutting space and shape with color and then re-unifying them as a coherent whole. The shapes, the color, the marks are the voices I strain to hear; an interior alphabet that leaks out; a language that I have to relearn and translate every time I start on a new work.

My process involves working to a place where I am losing control of the painting, then struggling back from that moment to achieve an emotional balance that is spontaneous and natural.

My Road Rage photography series tackles these same problems and attempts to capture this same dynamic through the lens of the camera.  I am always on the lookout for ambiguous accidents of beauty and power, ground into the common pavement.  Photographs were shot with a digital camera and printed with archival inks and dye on paper and aluminum.

– Stuart Lehrman, Philadelphia, 2014

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All images copyright Stuart Lehrman. Used with permission.

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See Lehrman’s other works at: http://www.stuartlehrman.com

August 29, 2014   Comments Off on Photo Editor’s Choice / Sept-Oct 2014

Irving S. T. Garp / Photographer

Sushi©Bernard Caelen

Sushi

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Hidden Portraits

 

Autoportrait au Polaroïd - II am a Belgian photographer, Bernard Caelen. My photographic alias is Irving S. T. Garp in reference to John Irving’s novel “The World According to Garp.” There is, I hope, a certain form of analogy between Irving’s style and my pictural universe.

Some models sometimes want to try to get photographed naked. But the fact of showing their body bothers them. It’s not modesty or shyness that holds them from doing it, it is the fear of being recognized by people they know, friends or family. In the series “Portraits Cachés” (Hidden Portraits), the models can be photographed naked and can hide their head in an original way.

In Irving’s books, some worst disasters appear, unexpected, in the middle of sentences, slipped into a description of an common daily life. My photos are recognized by their original and offbeat staging.

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Irving S. T. Garp / Hidden Portraits

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Links to Caelen’s works:

http://irvingstgarp.wix.com/pictures

http://irvingstgarp.skynetblogs.be/

http://www.facebook.com/irvingstgarp

http://www.flickr.com/photos/irvingstgarp

July 15, 2014   Comments Off on Irving S. T. Garp / Photographer

David Murphy/Photography

IMG_1001

At the foothills of the Hindu kush.

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Portraits

from Northern Afghanistan

 

David Murphy was born on Easter Sunday, 1983.

He is currently a renewing English Language Fellow in Toluca, Mexico.  He previously worked in Afghanistan on a World Bank project and in Riyadh, Saudi Arabia.  In Afghanistan, he served as a consultant-lecturer, and, later, as Administrative Director of a World Bank project to develop higher education at Balkh University in Mazar-e-Sharif.  In Riyadh, he worked as the Curriculum Supervisor in King Saud University, which, with 11,000 students, is the largest preparatory year in the Middle East.

In his free time, he skateboards and photographs people and places.

V10-N4 DAVID MURPHY

Portraits of Afghanistan

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August 28, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_0829.jpg]150August 28, 2009
August 28, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_0836.jpg]130August 28, 2009
August 28, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_0852.jpg]100August 28, 2009
August 28, 2009
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August 28, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_0875.jpg]90August 28, 2009
August 28, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_1001.jpg]70August 31, 2009
August 31, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_1134.jpg]90September 2, 2009
September 2, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_1222.jpg]90 September 2, 2009
September 2, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_copy-of-img_1714.jpg]140September 21, 2009
September 21, 2009
[img src=http://old.ragazine.cc/wp-content/flagallery/v10-n4-david-murphy/thumbs/thumbs_img_6118.jpg]110June 4, 2010
June 4, 2010

 About the Photographs

These photographs were taken in northern Afghanistan, mainly in Balkh province, during an 18-month period from the summer of 2009 til December 2010.  At this time, there was war in Afghanistan, and the entire country was classified as a conflict zone.  The photographs were taken with two very specific intentions: to have fun with photography, and to show the dignity and human compassion of Afghanistan’s people.  Since the early 1970s, when Russia invaded Afghanistan, the country has been a fighting ground, and, while there are physical and mental scars to show the dearth that walks hand-in-hand with war, there are many Afghans who have grins on their faces, and the irrepressible happiness of the Afghan children brings hope and smiles.

Sometimes photographers are asked which is their favorite photo of the collection.  Mine is that of the camels walking under the moon towards the mountains.  The space south of Mazar-e-Sharif (provincial capital of Balkh and where the camel photo was taken) is one that lies at the foothills of the Hindu Kush mountain chain, and the space is a green, fertile one in the spring and summer.  These men with camels are traders, and the burlap sacks on the camels’ backs contain straw.  They make a regular trek back and forth to the city — each journey takes 18 hours, including the time spent in Mazar.  The camels and men in this photo are walking south, and after a while, they will pass beneath an ancient archway made of clay bricks and stone that lies beneath a mountain pass, and, on the other side of this archway they will follow a river (when it has enough water to run), and into their small, green village which is built up on the interior of the mountain range.  There, the weather is cooler and fresher, and there are sheep, heavy mists, and steep paths between the mud-brick houses.

* * * * *

To the question, “What do you shoot with”? 

“I shoot with a Canon 50D, with an 18 – 200 mm lens, which is a walk-around lens for most people, and one that, if I had the money, I would trade in for a smaller Leica M9 — which is less likely to get me shot if I’m taking photos in unfriendly places.  Such big cameras attract too much attention.”

 

See more of David’s work at: https://www.behance.net/DavidMurphy13

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July 15, 2014   Comments Off on David Murphy/Photography

Jonathan Alpeyrie/Photographer Interview

Local Ukrainians buried after gun battle

©2014 Jonathan Alpeyrie

April 22, 2014, Aleksandrovka, Donetsk Oblast, Ukraine: Three men from the small village of Aleksandrovka are being buried after a ceremony at the main church of Slavyansk after they were killed during a gun battle at a checkpoint near their village. Here, family members of Sasha, the youngest man killed in the gun battle, are seeing his dead body for the first time. The circumstances of their deaths are unclear, though Russia and Kiev are trading blame on the incident, hence further escalating tensions in the Donetsk region.

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“Journalism”

&

the Conflict in Ukraine

with Mike Foldes

Born in Paris in 1979, Jonathan Alpeyrie moved to the United States in 1993. He graduated from the French high school of New York City in 1998, before going to the University of Chicago to study medieval history. Jonathan started his career shooting for local Chicago newspapers during his undergraduate years. He did his first photo essay in 2001 while traveling in the South Caucasus. In addition to Ukraine, he has photographed conflicts in South Caucasus, East Africa, Nepal, Mexico, Afghanistan, Libya and Syria. Alpeyrie is a staff photographer for Polaris Images. His work has been published in Paris Match, Aftenposten, Time, Newsweek, Wine Spectator, Boston Globe, Glamour, BBC World, Popular Photography, The New York Times, VSD, American Photo and ELLE. A photography book about WWII veterans with Verve Editions is in the works, and scheduled to come out next year. 

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Q: In a recent statement that appeared in L’Oeil de la Photographie, you wrote, “The Western press does not understand the nature of the conflict: I was more appalled by the lack of understanding by the Western press who was convinced that Russia was the enemy, and furthermore, that the Western powers were right to intervene. As always the reality on the ground is different from what the general public is being fed by the mainstream media.”Can you please explain “the reality on the ground”?

A)The reality on the ground is, first and foremost, a historical one. In 988 AD, Rus king Vladimir the Great of Kiev converted, and his people, to Byzantine Orthodoxy in the region, creating a Christian state in what is now Eastern Ukraine. Today, for locals, this historical founding moment is still of great importance as it unifies the Slavic civilization. Therefore, a division within this entity is indeed a very difficult notion to accept for many Eastern Ukrainians and Russians alike, as it would be seen as truly illogical proposition.These historical implications cannot and should not be discarded by Western powers, and the ever powerful mainstream media. It is, in fact, an oddity to think that they both are willing to put aside these considerations, as Western Europe as well as the United States are also Christian nations.This lack, and this unwillingness to understand the past, especially for the US government and most of its media, has lead to much misinterpretation of what Russia is, and what it is trying to become. As it is true for the United States, Mr. Putin defends his country’s interest, and its place in the world. What would the United States say and do if Russia would today, directly challenge America’s zone of influence in Asia, like Japan or the Philippines, or even challenge its hegemony in Mexico, right on its border? I assure you, the United States would not allow it. Well, the situation in Eastern Ukraine is no different: the Eastern Ukraine was shaped by Russia. Not the West.Though I fully understand that geopolitical logics are in place in this crisis, and the US, aided by its smaller less significant ally, Western Europe (maybe with the exception of Merkel’s Germany, who is a close ally to Russia), I am also appalled by the mainstream media’s lack of seriousness, let alone its inability to remain neutral. Though it is safe to say that most mainstream media leans on the political left, which by essence proves its illegitimacy as an impartial entity, it also copies from each other most information spread around by social media and incompetent reporters. I will say it again, a journalist with no historical understanding of the region he works in, makes him a bad journalist. And there are many.

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V10N4 Jonathan Alpeyrie

Portfolio of photographs from the conflict in Ukraine, 2014. Copyright Jonathan Alpeyrie. Courtesy of the photographer and Polaris Images.

[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_kiev-ukraine-uprising-jan-2014_0.jpg]240005_Kiev Standoff
January 30, 2014, Kiev, Ukraine. Anti-government groups have barricaded entire streets to keep away police forces loyal to the Yanukovych government. Heavy clashes between both parties has left its marks on the area, with destroyed vehicules, assault resistant barricades, and burned tires. The standoff between both parties has shown that no one is ready to give way for a true compromise. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_kiev-ukraine-uprising-feb-2014_0.jpg]200010_Kiev Protest
February 5, 2014, Kiev, Ukraine. Ukraine has been hit by more than two months of unrest following a decision by president Viktor Yanukovish not to pursue trade and other deals with the EU. After days of clashes, the EU and the USA are moving torwards economic sanctions. Opposition leaders have agreed with such a move, which, they say, would bring further attention to their struggle. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_kiev-ukraine-women-feb-2014_0.jpg]240007_Women of the Revolution
February 5, 2014, Kiev, Ukraine. Women are marching for peace near the barricades. After months of protest in Maiden Square thousands of Ukrainian nationals, from all over Ukraine, have volunteered to help in anyway possible. Hundreds of Ukrainian women have also joined in to help. Some by cooking food for the men outside, others by organizing the struggle through the web. Some even have been forming a para-military unit. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_donetsk-uklraine-april-2014_0.jpg]160009_Donetsk Breakup
May 1, 2014, Donetsk, Donetsk Oblast, Ukraine. Police riot is retreating inside the building after being attacked. Hundreds of pro-Russian militants have seized the regional prosecutor's office in the city of Donetsk. The attackers hurled Molotov Cocktails and rocks at the riot police guarding the building, promptly forcing the police to retreat inside the building. The separatists then attacked the building in forces, suffering a few injuries in the process. Once inside the building riot police started to surrender in mass to the attacking pro-Russian men, who quickly took all of their equipment . (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_donetsk-ukraine-gas-april-2014_0.jpg]170008_Donetsk Breakup
April 28, 2014, Donetsk, Donetsk Oblast, Ukraine. Pro-Kiev protestors rally in the center of town in order to show their support for the current government. Only a few hundred strong, they decide to move and take their protest through the streets of Donetsk, where hundreds of pro-Russian separatists are waiting for them. Clashes quickly fallow, with the police barely getting involved as most of them are pro-Russian. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_aleksandrovka-ukraine-militia-april-2014.jpg]140016_Ukrainian Burial
April 22, 2014, Aleksandrovka, Donetsk Oblast, Ukraine. Armed separatists are attending the burial of the men killed in their village. Three men from the small village of Aleksandrovka are being buried after a ceremony at the main church of Slavyansk after they were killed during a gun battle at a checkpoint near their village. The circumstances of their death remains unclear, though Russia and Kiev are trading blames on the incident, hence further escalating tensions in the Donetsk region. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_donetsk-ukraine-maidan-fighters-april-2014_0.jpg]110003_Ukraine Breakup
April 19, 2014, Donetsk, Donetsk Oblast, Ukraine. Masked men are guarding the area near the occupied administration building. Ukraine's foreign minister has said that operations against pro-Russian militants in the Eastern part of the country have been suspended over Easter. However, the stalemate remains between Kiev and pro-Russian separatists. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_donetsk-ukraine-throwing-bricks-april-2014_0.jpg]60008_Donetsk Breakup
May 1, 2014, Donetsk, Donetsk Oblast, Ukraine. Hundreds of pro-Russian militants have seized the regional prosecutor's office in the city of Donetsk. The attackers hurled Molotov Cocktails and rocks at the riot police guarding the building, promptly forcing the police to retreat inside the building. The separatists then attacked the building in forces, suffering a few injuries in the process. Once inside the building riot police started to surrender in mass to the attacking pro-Russian men, who quickly took all of their equipment . (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_donetsk-ukraine-police-line-may-2014_0.jpg]60020_Donetsk Breakup
May 1, 2014, Donetsk, Donetsk Oblast, Ukraine. A police officer is trying to reason with attacking pro-Russians. Hundreds of pro-Russian militants have seized the regional prosecutor's office in the city of Donetsk. The attackers hurled Molotov Cocktails and rocks at the riot police guarding the building, promptly forcing the police to retreat inside the building. The separatists then attacked the building in forces, suffering a few injuries in the process. Once inside the building riot police started to surrender in mass to the attacking pro-Russian men, who quickly took all of their equipment . (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_slavyansk-ukraine-carrying-casket-april-2014_0.jpg]60009_Ukrainian Burial
April 22, 2014, Slavyansk, Donetsk Oblast, Ukraine. The bodies of the men killed during the gun battle are being taken outside for the crowd to see. Three men from the small village of Aleksandrovka are being buried after a ceremony at the main church of Slavyansk after they were killed during a gun battle at a checkpoint near their village. The circumstances of their death remains unclear, though Russia and Kiev are trading blames on the incident, hence further escalating tensions in the Donetsk region. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_slavyansk-ukraine-russian-position-april-2014_0.jpg]60015_Slavyansk
April 21, 2014, Slavyansk, Donetsk Oblast, Ukraine. An armed pro-Russian gunman is standing guard in front of the administration building they captured 2 weeks before. Fifty miles north of Donetsk, the town of Slavyansk is under the control of heavily armed pro-Russian gunmen who say they want a referendum on the region's status. After a deadly shooting the previous night, the separatist "people's mayor", Vyachelav Ponomarev imposed a curfew and issued an appeal to Russian to send troops. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_slavyansk-ukraine-service-april-2014_0.jpg]80004_Ukrainian Burial
April 22, 2014, Slavyansk, Donetsk Oblast, Ukraine. Three men from the small village of Aleksandrovka are being buried after a ceremony at the main church of Slavyansk after they were killed during a gun battle at a checkpoint near their village. The circumstances of their death remains unclear, though Russia and Kiev are trading blames on the incident, hence further escalating tensions in the Donetsk region. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_slavyansk-ukraine-soldier-in-field-may-2014_0.jpg]110001_Donetsk Breakup
May 5, 2014, Slaviansk Donetsk Oblast, Ukraine. A Ukrainian soldier is taking position at a roadblock during clashes in a near by village. Ukrainian troops fought pitched gun battles monday with pro-Russian militias around Slavyansk. In the mean time, the government in Kiev has been tighting its grip around the rebel city by adding new roadblocks ever closer to the city itself. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_kramatorsk-ukraine-body-may-2014_0.jpg]90007_Donetsk Breakup
May 3, 2014, near Kramatorsk, Donetsk Oblast, Ukraine. A separatist was shot dead by pro Kiev forces during a attack on a bridge. The Ukrainian military is continuing its military operations around the rebel held cities of Slavyansk and Kramatorsk. Swift armored raid are launched, now each day on rebel positions, inflicting casualties, both civilians and separatists. As a defense measure the pro-Russians burn their tires to cover their retreats. Today, in and around Kramatorsk rebel positions were hit by these raids killing perhaps as much as 6 people, triggering a gun battles on the streets of that city. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_kramatorsk-ukraine-2-may-2014_0.jpg]70011_Donetsk Breakup
May 5, 2014, Kramatorsk, Donetsk Oblast, Ukraine. Locals are participating in the funeral of a young 21 year old girl, called Julia, who was shot and killed alongside two men while driving their car in the middle of a gun battle which took place in the center of town between advancing government troops and pro-Russian militias. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_kramatorsk-ukraine-may-2014_0.jpg]100014_Donetsk Breakup
May 5, 2014, Kramatorsk, Donetsk Oblast, Ukraine. The family of the late Julia is morning during the funeral at a local cemetary. Locals are participating in the funeral of a young 21 year old girl, called Julia, who was shot and killed alongside two men while driving their car in the middle of a gun battle which took place in the center of town between advancing government troops and pro-Russian militias. (Jonathan Alpeyrie)
[img src=http://old.ragazine.cc/wp-content/flagallery/v10n4-jonathan-alpeyrie/thumbs/thumbs_aleksandrovka-ukraine-home-april-2014.jpg]200018_Ukrainian Burial
April 22, 2014, Aleksandrovka, Donetsk Oblast, Ukraine. Family member of the youngest man killed in the gun battle, called Sasha, are seing his dead body for the first time. Three men from the small village of Aleksandrovka are being buried after a ceremony at the main church of Slavyansk after they were killed during a gun battle at a checkpoint near their village. The circumstances of their death remains unclear, though Russia and Kiev are trading blames on the incident, hence further escalating tensions in the Donetsk region. (Jonathan Alpeyrie)

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I have experienced on many occasions events which have made me doubt the legitimacy of the press world when it comes to world affairs. After covering over a dozen wars, I have never been confronted to such spreading of misinformation directed to the public, who after all, does not need to be influenced in one way or the other when it comes to current affairs: it is for the reader and the viewer to decide for himself. Dictatorships begin in such ways. History has proved many times over. During my four weeks in the Dombass region covering the crisis there, over 90% of foreign journalists were openly against Putin’s Russia, and therefore agreed with the Maidan movement. Not only is it not the role of these journalists to put forward their personal preferences, it is their role to let the readers decide. Furthermore, I was also very surprised to see that a lot of information taken by the media came from Twitter, Facebook, and other social media outlets. Because of its nature, and its propaganda use, social media should never constitute a valuable source of information for any major media. Every morning, Tweets and pro-Maidan Facebook posts, as well as pro-Russian hashtags, influenced the way the crisis was being perceived in the Western world, and often mainstream media outlets took this information and published it! For instance, one morning it read from Twitter: 30 dead in clashes between pro-Keiv and pro-Russian troops. It happened that I was there during the gun battle, and only three people died. The pro-Kiev faked the number in order to show that pro-Russians were killing countless innocent civilians, while pro-Russians used the same casualty count to show that Kiev was also killing left and right. In this crisis, it is mostly a war of information in order to influence one side, while demonizing the other. Too many times the media fell into that trap while reporting false information, which can still be read on the web, on their websites. I once called my contacts at the BBC to retrieve information that was false, which had been reported by a BBC journalist who was not even on site when the event happened, but was reporting from Kiev! The press should not be a tool for propaganda, which often favors government foreign policy, but a force meant to debate and engage in conversation. It seems that the main stream media has forgotten its primary purpose, and many journalists should remember that important fact. The Ukraine is a perfect example of that. From the beginning the Maidan movement was pure and fair, while Russia was evil and wrong to even pretend to exercise its power. Not once there was a discussion about Russia’s legitimacy and its historical connection to the Ukraine. Russia is not an enemy, and quite easily Mr. Obama and his administration could have come up with a deal that would have made everyone happy. Instead, the US administration has increased its sanctions, further humiliating the Russians. I cannot help to make the comparison between the humiliation suffered by the Germans after the end of WWI with the treaty of Versailles, which is a direct consequence of the looming next world conflict. Russia is a powerful nation, with a deep sense of history and pride. This needs to be respected.

Q) How do you respond to those who say the contemporary historical reference is that Ukraine (and Crimea) were legally established and internationally recognized as independent states upon dissolution of the USSR, and their status should remain as such? And, if Putin’s Russia and the EU are co-existing, why would there be such resistance for Ukraine to strengthen economic and political ties with EU?

A) Again, history and demographics are what we should be looking at. Ukraine was reconquered by the Red army from German forces in 1944. Furthermore, an estimated 60% of the 2.7 million inhabitants are Russians, and about 26% are Ukrainians. And finally, Russia has had military bases long before the Ukraine became independent. Therefore it was, de facto Russian land. The international community did not dispute the annexation for all of the reasons stated above. Besides, there was no military contest coming from the Kiev government. It is only the Western part of the Ukraine that wants to join the EU. Historically, Western influence, like Poland, has had a big impact in that part of the Ukraine, formatting a very different mentality in the region. The East has always looked toward Russia, not Europe. One has to remember that the Maidan movement represents a small minority of people, not a majority like the press and some Western government would like us to believe. However, I certainly do not understand why there should be a divide between the West and Russia. We are all Christian nations with a common history and destiny. Mr. Putin wants nothing more than to allow a great Northern alliance to finally take shape. Though it is true that Europe has reached a post-Christian era, for the Russians, however, religion and traditions still matter.

Q) So, you are putting this into the context of a religious conflict, and not the result of economic difficulties, oil interests, or strategic geography?

A) All of the above are true. However, the interesting thing about the religious aspect is the view these Eastern Ukrainians have of us, modern Westerners. For them, it is hard to understand what we have become, both morally and religiously. During my time in the region many pro-Russians perceive the West as a decadent society, a post-Christian society, where old traditions which had once found common ground between Europe and Russia, are quickly disappearing. For locals, these old Christian traditions with the belief of God, and family, are setting apart these two worlds: Religion and all its implications do matter enormously in the region. Religion is one vector which opposes these two worlds, one that has moved away from its Greek/Christian roots, while the other still sees itself has a religious entity defined by the Orthodoxy.

Q) You began by saying that reporters who have no historical knowledge or perspective should not be allowed to report on important issues as these. What can networks and news agencies do to make sure their people on the ground — and their editors back in the office — get things objectively correct?A) I do believe that it is crucial that reporters on the ground have a strong sense of history, not only in the region where they work, but also in general. Historical knowledge brings sensitivity to the journalist and a sense of neutrality needed to remain objective: Bashing the Russians and Putin constantly will not help in that regard. One has to remember the trauma lived by Russians and their neighbors during WWII: An estimated 25 million dead were suffered during the great patriotic war of 1941/45. We cannot blame the Russians for their mistrust towards the West, though it was more then 70 years ago, these events are still very present in people’s minds.

Jonathan, thank you very much!

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All photographs courtesy of Jonathan Alpeyrie.

Find out more: http://www.jonathanalpeyrie.net/

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About the Interviewer:  Michael Foldes is founder and managing editor of Ragazine.CC. You can read more about him in “About Us.” The foregoing interview was conducted via e-mail in June 2014. 

 

June 26, 2014   Comments Off on Jonathan Alpeyrie/Photographer Interview

Chuck Haupt / Eye on London

windsor_sentry01

©2014chuckhauptphoto


A British soldier on sentry duty within the precincts of Windsor Castle, an official residence of The Queen.

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London & Beyond

 

Spending a few months across the pond, being based in London, I am rediscovering this wonderful city and the countryside.  One can never get tired of London. As the English writer, Samuel Johnson said in 1777, “When a man is tired of London, he is tired of Life.” This holds true today, as London is ever growing and changing.

– Chuck Haupt

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Photography / London & Beyond

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Reminders are everywhere to look right, look left, look right again and again.
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Raindrops cover the window on one of London's double-decker buses.
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A former lumber merchant’s building along Hoxton Street in the East End of London. An art critic for The Guardian calls the working-class neighborhood “the insane mixture of grooviness and urban blight.”
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Camden Town
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<br />Over 1/2 million bicycles are used daily and can be found parked anywhere.
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Golden Jubilee Bridge
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Graffiti along Clipstone St., Westminster, London.
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National Portrait Gallery
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There is a protest about every day somewhere in London.
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<br />A jet flies over London where on a good day 44 flights arrives each hour at Heathrow.
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Regent Canal
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Sculling on the Thames
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Trafalgar Square
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Tourists
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Tree shadow
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The Tulip Sraircase in the Queen's House, Greenwich, built in the 1600's.
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London Underground, also known as The Tube.
[img src=http://old.ragazine.cc/wp-content/flagallery/photography-london-beyond/thumbs/thumbs_london_westminster.jpg]90
Westminster
[img src=http://old.ragazine.cc/wp-content/flagallery/photography-london-beyond/thumbs/thumbs_rainnight_exmouth.jpg]110
Exmouth Market
[img src=http://old.ragazine.cc/wp-content/flagallery/photography-london-beyond/thumbs/thumbs_stonehenge001.jpg]80
Stonehenge

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london_walkerlondon

London is full of graphic elements with all the signage vying for one’s attention.

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Chuck is Photo Editor for Ragazine.  To see other photos from London visit here.

 


April 28, 2014   Comments Off on Chuck Haupt / Eye on London

High Plains/Russell Streur

Lincoln Highway Memorial

 

High Plains Postcard

Story and Photographs, Russell Streur

Give the landscape in High Plains Drifter its due, but Clint Eastwood filmed that movie in the California Sierras, hundreds of miles from the real place.

With its sorghum roots threatened by the failing Ogallala Aquifer, the High Plains today rise perilously up from Lubbock north through the short grass prairie and rolling hills past Cheyenne till meeting the Black Hills and the holy country of the Sioux above the Platte.

It’s a considerable country, enough to separate the long, flat horizons of the corn and wheat fields of the American heartland from the jagged peaks of the Rocky Mountains and the cool, blue rivers and the forest pines of the Big Sky.

Old and famous trails cross through here, the Bozeman and the Mormon.  In Guernsey, Wyoming, passers-by can still see the ruts of the Oregon Trail, carved four feet deep in sandstone by the iron wheels of the thousands and thousands of wagons that carried the great migration west.

Newer trails cross here, too, the Lincoln Highway and the Union Pacific. There’s a tall and muscular pedestal with Lincoln’s bust on top just this side of Laramie off Interstate 80 marking a waypoint on the nation’s first coast to coast highway. The 16th President looms over a smaller memorial to Henry Bourne Joy, whose brainchild it was to pave a ribbon of concrete across the continent from New York City to San Francisco.

HIGH PLAINS

Russell Streur, proprietor of The Camel Saloon, an online literary pub, takes to the High Plains of Wyoming.

[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_bison.jpg]20High Plains
High Plains, Bison, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-1-v2.jpg]20High Plains
High Plains 1, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-2.jpg]20High Plains
High Plains 2, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-3-v2.jpg]20High Plains
High Plains 3, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-4.jpg]20High Plains
High Plains 4, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-5-v4.jpg]20High Plains
High Plains 5, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-6.jpg]20High Plains
High Plains 6, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-7-v3.jpg]10High Plains
High Plains 7, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-8.jpg]10High Plains
High Plains 8, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_lincoln-highway-memorial.jpg]30High Plains
High Plains, Lincoln, Russell Streur, 2014, Wyoming
[img src=http://old.ragazine.cc/wp-content/flagallery/high-plains/thumbs/thumbs_high-plains-windmill.jpg]00High Plains
High Plains, Windmill, Russell Streur, 2014, Wyoming

Not far away is a 60-foot granite pyramid celebrating the life of the brothers Oakes and Oliver Ames, Jr. Once known as The Shovel King, Oakes financed the completion of the Union Pacific in the late 1860s on a shaky house of sweetheart deals and flimsy banknotes common to the era.  Fingered as the central villain in the web of fraud and deceit of the ensuing Credit Mobilier scandal, Oakes died after a stroke, censured by Congress and disgraced, in the spring of 1873.   Ousted as president of the Union Pacific by a rival company faction, Oliver somehow escaped most of the heat from the fallout and passed on a few years later.  In the early 1880s, the railroad commissioned the monument to the two men, placing it at the highest elevation reached by the tracks.

Sometime later, the railroad moved its roadbed, and the Ames Monument now stands in a general nowhere, odd and unattended on a windy hill.

Most people along the trails kept on moving. Not six people per square mile live in Wyoming these days, in attendance to the sheep and hay and cottonwood.  The growing season is a short and dry five months in a generous year.

With all the elbow room, it’s a good place to go looking for God.  He’s everywhere out here.  So is She.

And the buffalo.

Remember this – when you meet your destiny pete1, and your teeth go flying one way, and your ass the other, the buffalo wins.

Then, make the word for medicine with the sign language of the tribes:  hold right hand close to forehead, palm out, index and middle finger separated and pointing to sky, thumb and other fingers closed.  Spiral hand upward, in right to left circles, as in the unknown mystery of it all.

The Great Spirit.  Call that, The Stranger.

 

 About the author:

Born in Chicago and currently a resident of Johns Creek, Georgia, Russell Streur’s poetry has been published widely in print, on line and in anthologies in the United States and Europe.  He operates the world’s original on-line poetry bar, The Camel Saloon (http://thecamelsaloon.blogspot.com/), is the author of The Muse of Many Names (Poets Democracy, 2011) and Table of Discontents (Ten Pages Press, 2012).  His photography has been featured in Written River and on line at The Blue Hour, Pacific Poetry and other publications.  His works are regularly seen at Atlanta area galleries.  He is a member of the Atlanta Artists Center, the Georgia Poetry Society, and wilderness and conservation organizations.

* * * * *

 1. pte … variation of a Lakota word for buffalo, “pte”.


April 28, 2014   Comments Off on High Plains/Russell Streur

Ralph Gibson / Photographer Interview

Bicycle  ©Ralph Gibson

This photograph is the cover for Ralph Gibson’s book, MONO .

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Seeing in Mono

* * * * *

by Mike Foldes

 

ralph quote4

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Q) When you say something like that, is there anything in particular you are referring to?

A) I got my first Leica, an M-2, in 1961 and have used rangefinder Leicas exclusively throughout my entire career. I knew immediately that the camera fit my hands in a unique way and that my brief was to focus on my skills as a camera handler. In those days my dream was to be a photojournalist and camera handling, speed and grace with the camera were the keys to capturing a certain kind of photograph.  And years ago it occurred to me that more great photographs had been made with a Leica and a 50mm lens than any other camera/lens combination. Now, 50 years later, the Monochrom digital has arrived and with a maximum  ISO of 10,000 there are absolutely no restrictions left. One can photograph anything just about anywhere…..with or without enough light! The image of Billie Holiday’s table was taken in a very dark room and the main challenge was finding an edge to grab for focus. Then having the immediate display of the image available, I knew the image was secure.

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Q) There is a Ralph Gibson signature edition of 35 pcs of the Monochrom, in black and silver. I take it you were involved in both the design and marketing effort for the camera. What did you tell Leica you were looking for in a digital camera when they came to you, and how long was it in development? Did you have a chance to test various editions as it was going through engineering design?

A) I was initially approached to use a proto-type model of the Monochrom. The first morning I had the camera in my hands I made the image of the bicycle and I realized that this camera harbored enormous potential. I asked for no changes whatsoever because I was too new to the digital space to suggest any modifications. The only thing the User Manual doesn’t explain is how to set the camera down.

Leda©Ralph Gibson

 Leda

Q) While you’ve used Leica cameras throughout your career, I would imagine you’ve tried using other brands. Does anything else come close? If so, what?

A) I began to photograph quite by chance in the USN. Having taken a battery of tests, I was assigned to the US Naval Photography School in Pensacola, Florida. The course was exigent and demanding in that one had to resolve problems with the view camera, the speed graphic as well as the k-25 aerial camera that shot a 100-foot roll of film. Once out of the school, I was assigned to a ship charged with making an hydrographic survey of the Aegean Sea. My duties included portraiture, industrial, aerial, (and) also lithographic process. By the end of my four-year enlistment, I was in charge of the entire photography division of the ship. I had a broad relationship to the medium including many printing processes, as well as Ektachrome processing. When I enrolled in the San Francisco Art Institute, my instructors knew far less technique than I. One afternoon my teacher Paul Hassel loaned me his Leica and the die was cast. I made a decision the same day to use that camera to the exclusion of all others. It was a life guiding decision, second only to my vocation to be a photographer. I didn’t stay long in school, primarily because I was offered a job as assistant to Dorothea Lange. I printed for her for about one-and-a-half years. She was the first great photographer I was able to know in a personal way and her influence has remained present throughout my entire career. 

Q) Some photographers committed to shooting black and white film have said that color photography diminishes the effect, but classical painters didn’t paint in black and white and came up with art that will last forever…. What was your initial attraction to monochrome and how did it keep you so engaged for so long?

A) Let us consider the world of reality. It exists in three dimensions, 100% scale and in living color. A black and white photograph reduces the world into two dimensions, considerably reduces the scale of reality down to the size of a print and also subtracts color. The result of this is a strong dramatic analog of the world that is immediately recognized by most of the people on the planet. Color, being only two steps abstracted from reality, is much less dramatic and for this reason remains for me a great challenge. I would like to make images in color that resonate with the same power as black and white.

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bookcover2_monoMONO Lustrum Press |104 pages

Black and white digital images

Ralph Gibson’s video of book release event

Ralph Gibson @ Kahmann Gallery’s Facebook page

Ralph Gibson’s MONO site

 

 

The foregoing interview was conducted via email between December 2013 and January 2014.

 

About the interviewer:

Mike Foldes is the founder and managing editor of Ragazine.CC. You can read more about him in “About Us.”

March 1, 2014   Comments Off on Ralph Gibson / Photographer Interview

Photo Editor’s Choice / March-April 2014

xxxxxx

 the PHOTOGRAPHY spot

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070 All photographs © Justice & Police Museum

Special Photograph no. 203A. Thomas Bede was charged with ‘suborn a witness’ at Sydney Quarter Sessions on 11 December 1928, for which he was fined £8. No other details known.

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City of Shadows

Sydney police photographs 1920-1950

In the early part of the 20th century police routinely went to places that respectable people did their best to avoid, the dark places where bad things happened. They were just doing their job – asking questions, taking photographs, writing reports. But now, nearly a century later, the fruit of that footwork offers us the most extraordinary and intimate record of the more troubled sides of everyday life in early 20th-century Australia.

The series includes around 2500 “special photographs” taken by New South Wales Police Department photographers between 1910 and 1930. These “special photographs” were mostly taken in the cells at the Central Police Station, Sydney, and are, as curator Peter Doyle explains, of “men and women recently plucked from the street, often still animated by the dramas surrounding their apprehension.” Doyle suggests that, compared with the subjects of prison mug shots, “the subjects of the Special Photographs seem to have been allowed – perhaps invited – to position and compose themselves for the camera as they liked. Their photographic identity thus seems constructed out of a potent alchemy of inborn disposition, personal history, learned habits and idiosyncrasies, chosen personal style (haircut, clothing, accessories) and physical characteristic.”

-Sydney Living Museums 

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127The quartet pictured were arrested over a robbery at the home of bookmaker in April of 1921. Three of the four were convicted, and received sentences of fifteen months each.

014Mug shot of Daphne Barker  in 1923. Details are unknown.

051It is likely the women were photographed simply because they were found in the company of known criminals.

019A cropped print of this photograph appears in a police photo book from the 1920s, annotated in pencil “magsmen”, with no further information offered. 

124Mug shot of Ronald Frederick Schmidt in June, 1921. Details are unknown.

048Alfred Ladewig, alias Wallace charged on provisional warrant with stealing by trick the sum of £204.

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bookcover_1

 

 

Published by: Historic Houses Trust of NSW

240 pages | Hardback

Author : Peter Doyle with Caleb Williams

Isbn: 9781876991203

xxxxx

Get the City of Shadows book here 

Information about the exhibition at Sydney Living Museums

Link to the blog and archive

March 1, 2014   Comments Off on Photo Editor’s Choice / March-April 2014

Larry Hamill / Photography

           Screen Woman ©2013 Larry Hamill

Year 4 | Screen Woman Dreaming

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A post a day:

Four years and counting

Larry Hamill’s work continues to intrigue. Day after day, now, for more than four years, Hamill has posted a new photograph on his web site incorporating special effects and standard digital capture to come up with both strange and satisfying images. Hamill only recently passed the four-year mark and while his work has appeared several times before in Ragazine.CC, we figured it never hurts to celebrate a milestone with a friend. With so much to choose from, we asked the photographer for a couple of images he likes best from each of those four years. So here you go… enjoy. And if this isn’t enough, check out Hamill’s sites…

https://www.facebook.com/hamillusion
and, www.larryhamillphotography.com

— Mike Foldes

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YEAR 1 | favs

Heartberry  Oil on Canvas

Year 1| Heartberry | Oil on Canvas

Year-1 NZPath-8

Year 1 | NZPath-8

Mountain Impasse /Oil on Canvas

Year 1 | Mountain Impasse |Oil on Canvas

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Larry Hamill / Year 1

[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_a-profile.jpg]40A-Profile
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_bali-portal-3.jpg]30Bali Portal
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_bali-2.jpg]40Bali
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_barriers.jpg]40Barriers
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_behind-the-clouds-lr.jpg]40Behind the Clouds
Behind the Clouds
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_burning-tiger.jpg]40Burning Tiger
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_cy-path.jpg]40
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_gallery-3.jpg]20
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_glacier-nz-3.jpg]40Glacier NZ
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_h2o-slo-wizard.jpg]30H2O Slo-1
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_heron-in-flight.jpg]40Heron at ChristChurch
Heron at ChristChurch
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_ice-tree-s-park-1.jpg]80Ice Tree/Schiller Park
Ice Tree/Schiller Park
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_icey-bridge.jpg]100Old Man's Cave
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_insulation-study.jpg]250Insulation Study
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_l-2.jpg]50
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_manufacturing.jpg]50Manufacturing
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_mesa-verde-3.jpg]50
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_mountain-impasse-lr.jpg]60Mountain Impasse /Oil on Canvas
Mountain Impasse /Oil on Canvas
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_nano-space.jpg]60Nano Space-5
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_nocturnal-junction.jpg]30Nocturnal Junction by Larry Hamill Oil/Acrylic on 4'-3' Canvas
Nocturnal Junction by Larry Hamill Oil/Acrylic on 4'-3' Canvas
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_norse-windman.jpg]30
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_nzpath-8.jpg]30
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_ow.jpg]30Balcony
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_passage-detail-2.jpg]20Passage
Passage
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_pathways-2.jpg]20Pathways
Pathways
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_prometheus-3.jpg]40Prometheus
Prometheus
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_prometheus.jpg]20Prometheus
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_pyramiding.jpg]20Pyramiding
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_s-b-demon.jpg]30Demon-1
Demon-1
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_specters.jpg]40Light Motion Study
Light Motion Study
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_spikey.jpg]70Spikey
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_tomato-sauce-trail-2.jpg]30Georgia Trail
Georgia Trail
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_tribal-elder.jpg]70Tribal Elder
Tribal Elder
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_water-lilly_4.jpg]90Water Lilly
Water Lilly
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_white-tiger.jpg]60White Tiger
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-1/thumbs/thumbs_whooshing.jpg]10Whooshing
Whooshing

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YEAR 2 | favs

Steps

Year 2 |Steps 

Hot Water

Year 2 | Hot Water

Year-2 Spiral Stairs

Year 2  | Spiral Stairs

Ink Study/China

Year 2 |Ink Study | China

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Larry Hamill / Year 2

[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_2012-cal-image.jpg]1302005 Columbus, Ohio Calendar
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_anne-with-anne-with-rangefinder.jpg]210Anne with Rangefinder
Anne with Rangefinder
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_behind-the-behind.jpg]110Gridwork
Gridwork
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_c-camera-1.jpg]100C-Camera-1
C-Camera-1
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_c-imp-4.jpg]30LSP Abstractions
LSP Abstractions
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_chinese-brush-ink-4.jpg]40Chinese Brush & Ink-4
Chinese Brush & Ink-4
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_chinese-brush-ink-5.jpg]40Chinese Brush & Ink-5
Chinese Brush & Ink-5
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_chinese-brush-ink-7.jpg]10Chinese Brush & Ink-7
Chinese Brush & Ink-7
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_columbuswalkwaaway.jpg]20Columbus_Multi-1
Columbus_Multi-1
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_dashing-off.jpg]10Dashing off
Dashing off
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_deshler-sidewalk-2.jpg]10Deshler
Deshler
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_dominican-republic-doorway.jpg]10Dominican Republic
Dominican Republic
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_fountain.jpg]10Fountain
Fountain
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_hallway.jpg]10Hallway
Hallway
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_i-park-pathway.jpg]10I-Path Park
I-Path Park
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_koi-7.jpg]10Koi
Koi
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_liquid-dress.jpg]10Fluid Dress
Fluid Dress
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_mindscape-3.jpg]30Mindscape-3
Mindscape-3
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_neutrino-dust-particle.jpg]20Neutrino Dust Particle
Neutrino Dust Particle
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_norbit-4.jpg]10Norbit-4
Norbit-4
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_norbit-8-p.jpg]10Norbit-8
Norbit-8
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_nz-road.jpg]10NZ Road
NZ Road
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_old-man.jpg]10Old Man
Old Man
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_plume-series-1.jpg]10Plume Series
Plume Series
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_pre-flight-check-2.jpg]30Pre Flight Check
Pre Flight Check
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_sand-grain.jpg]40Sand Grain
Sand Grain
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_steep-pathway.jpg]30Steep Pathway
Steep Pathway
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_the-four-cameras-of-the-apocalypse-2.jpg]20The Four Cameras of the Apocalypse
The Four Cameras of the Apocalypse
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_tropical-path-3.jpg]20Tropical Path
Tropical Path
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_usa-civil-war.jpg]20P&N Civil War
P&N Civil War
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-2/thumbs/thumbs_waw-dendritics-2.jpg]40WAW Dendritics
WAW Dendritics
 

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YEAR 3 | favs

On another side

Year 3 | On another side

Eyescape

Year 3 | Eyescape

3rd St. Southward-1

Year 3 | 3rd St. Southward-1

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Larry Hamill / Year 3

[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_a-rockrun.jpg]20
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_ancient-city-7-2.jpg]40Ancient City
Ancient City
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_747-pilot.jpg]40
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_ancient-city-9.jpg]20Ancient City-9
Ancient City-9
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_ancient-city-14.jpg]10Ancient City 14
Ancient City 14
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_ancient-city-16.jpg]10Ancient City-16
Ancient City-16
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_archeologist-in-israel-3.jpg]10Archeologist in Israel
Archeologist in Israel
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_bridge-4.jpg]10Bridge-3
Bridge-3
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_buffalo-flames.jpg]30Buffalo Flames
Buffalo Flames
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_burning-question.jpg]60Burning Question
Burning Question
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_cabbage-vendor.jpg]70Cabbage Vendor
Cabbage Vendor
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_colt.jpg]100Colt
Colt
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_columbus-eyes-1.jpg]120submuloColumbus
submuloColumbus
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_control-panel.jpg]80Control Panel
Control Panel
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_crewmembers.jpg]60Crewmembers
Crewmembers
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_cup-1.jpg]30
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_eastward-reinhard.jpg]20
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_end-run.jpg]10End Run
End Run
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_escape.jpg]20Escape
Escape
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_fire-water-3.jpg]10Fire & Water
Fire & Water
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_flying-b-2.jpg]20Flying Buttress
Flying Buttress
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_four-eyes.jpg]20Four Eyes
Four Eyes
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_fruit-vendors.jpg]20
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_glass-knot-1.jpg]20Glass Knot
Glass Knot
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_granada-painter-1.jpg]30Granada Painter
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_hipster.jpg]50Chris
Chris
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_inner-workings-3.jpg]30Inner Workings
Inner Workings
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_kayak.jpg]40Kayak
Kayak
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_liquid-dance.jpg]10Liquid Dance
Liquid Dance
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_lms-4-door.jpg]10Round Door
Round Door
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_long-run.jpg]10Long Run
Long Run
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_lucky-10.jpg]00Lucky-9.
Lucky-9.
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_m-23.jpg]00Gathering of Mustangs and Legends
Gathering of Mustangs and Legends
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_m-40.jpg]00Gathering of Mustangs and Legends
Gathering of Mustangs and Legends
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[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_mainliner-livingston-ave.jpg]00Mainliner Livingston Ave.
Mainliner Livingston Ave.
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_neon-trench-1.jpg]00Neon Trench
Neon Trench
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_neon-trench-3.jpg]00Neon Trench
Neon Trench
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_night-blooming-ceres.jpg]00Night Blooming Ceres
Night Blooming Ceres
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_odd-orb.jpg]00Odd Orb
Odd Orb
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_on-another-side.jpg]00On another side
On another side
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_polly-2.jpg]00Pollyanna
Pollyanna
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_portrait-of-the-raven-kings-brother.jpg]00Dual Falls
Dual Falls
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_red-wall-4.jpg]00Red Wall
Red Wall
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_robot-ship-2.jpg]00Robot-Ship-2
Robot-Ship-2
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_robot-ship-near-miss.jpg]00Robot-Ship-Near miss
Robot-Ship-Near miss
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_roboto-ship.jpg]00Robot-Ship
Robot-Ship
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_schiller-ice-pond.jpg]00Frozen Pond
Frozen Pond
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_shaman.jpg]00Shaman
Shaman
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_shape-shift-1.jpg]00Shape Shift-1
Shape Shift-1
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_stranger-in-hallway.jpg]00Stranger in Hallway
Stranger in Hallway
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_the-avian-ballet-3.jpg]00Avian Ballet
Avian Ballet
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_the-four-cameras-of-the-apocalypse.jpg]00The Four Cameras of the Apocalypse
The Four Cameras of the Apocalypse
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_thoughts-about-time.jpg]00Thoughts about time
Thoughts about time
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_tl-9.jpg]00TL-9
TL-9
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_vibrance-full-mandala-2.jpg]00Vibrance Full Mandala-1
Vibrance Full Mandala-1
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_vortex-12.jpg]20
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_walking-man.jpg]10Walking Man
Walking Man
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_walking-scholar.jpg]10Walking Scholar
Walking Scholar
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_waterfalls.jpg]00Water Falls
Water Falls
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-3/thumbs/thumbs_yesterdays-moon.jpg]00Yesterday's Moon
Yesterday's Moon

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YEAR 4 | favs

Color Forms-3

Year 4 | Color Forms-3

Slippery Path

Year 4 | Slippery Path

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Larry Hamill / Year 4

[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_alessandro.jpg]10Maestro
Maestro
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_smart-phones.jpg]00"Smart Phones"
"Smart Phones"
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_ancient-egyptian.jpg]40Ancient Egyptian
Ancient Egyptian
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_arnett-playing.jpg]00Arnett Howard
Arnett Howard
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_catco-poster.jpg]10
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_coloful-owl-3.jpg]90Colorful Owl
Colorful Owl
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_color-forms.jpg]20Color Forms
Color Forms
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_data-snares.jpg]10Data Snars
Data Snars
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_devils-tower.jpg]00Devil's Tower
Devil's Tower
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_diamondscape-6.jpg]00Diamondscape
Diamondscape
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_diamondscape-7.jpg]00Diamondscape
Diamondscape
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_dragonfly.jpg]00Dragonfly
Dragonfly
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_eye-bridge.jpg]00
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_flamingo-amigo.jpg]00Flamingo Amigo
Flamingo Amigo
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_fog-lifting.jpg]00Rowing
Rowing
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_glasshouse-6.jpg]00GlassHouse-6
GlassHouse-6
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_glasshouse-7.jpg]10GlassHouse-7
GlassHouse-7
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_glasshouse.jpg]10GlassHouse
GlassHouse
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_hummingbird-inflight.jpg]30Hummingbird
Hummingbird
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_interlaken-switzerland-5.jpg]20Interlaken Switzerland-3
Interlaken Switzerland-3
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_leaves.jpg]20Leaves
Chadwick Flowers
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_lively-lights.jpg]20Lively Lights
Lively Lights
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_looking-back.jpg]20Looking Back
Looking Back
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_looking.jpg]20Another Look
Another Look
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_maize-4.jpg]10Maize-4
Maize-4
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_moonstone-waw.jpg]10Moonstone WAW
Moonstone WAW
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_musician.jpg]10Musician
Musician
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_packard-glow.jpg]10Winged Figures
Winged Figures
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_pondering-away.jpg]10
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_portrait-2.jpg]10Portrait
Portrait
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_raja-painting-5.jpg]10Raja Painting-3
Raja Painting-3
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_raven-8.jpg]10Raven View
Raven View
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_riverway.jpg]10Riverway
Riverway
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_singa-bridge-7.jpg]10
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_trudging.jpg]00Trudging
Trudging
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_waterway.jpg]00Waterway
Waterway
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_windsurfers.jpg]00Windsurfers
Windsurfers
[img src=http://old.ragazine.cc/wp-content/flagallery/larry-hamill-year-4/thumbs/thumbs_wwalled-10.jpg]00WWalled-10
WWalled-10

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Visit Larry Hamill’s Blog

January 5, 2014   Comments Off on Larry Hamill / Photography

Photo Editor’s Choice / Jan-Feb 2014

 

 the PHOTOGRAPHY spot

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Manhattan

Stephanie Steinkopf 

Manhattan-Stra§e der Jugend© 2012 Stephanie Steinkopf  

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Straße der Jugend

(Street of Youth)

A photographic work about poverty in Germany

 

When I first viewed Stephanie Steinkopf’s “Manhattan” I was expecting in seeing photographs from New York City’s most famous borough and not the downtrodden of those living in a nearly vacant apartment complex in a small village outside of Berlin, Germany.

The photographs give insight into the lives of residents in an area of eastern Germany where the promise of prosperity after reunification never was realized. Steinkopf, over four years, was able gain the residents’ trust to photograph very personal moments. Hopefully, the socially concerned photographer will continue using her medium to comfort the afflicted and afflict the comfortable.

Unfortunately the self-published book, in its second edition, is out of print. With luck, another edition is in the works.

– Chuck Haupt, Ragazine’s Photo Editor

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Manhattan-Stra§e der Jugend

Manhattan-Stra§e der Jugend

Manhattan-Stra§e der Jugend

Manhattan-Stra§e der Jugend

Manhattan-Stra§e der Jugend

Manhattan-Stra§e der Jugend

…How do people live here 23 years after the fall of the wall? What do the residents wish for? What are their dreams, visions, hopes and fears? What does their everyday life look like? „Straße der Jugend“, „Street of Youth“ is printed on the main road’s sign, leading past Manhattan. It once was to be a road to the future. What future is there here to be had?” …Manhattan: Street of Youth“ offers us an insight into everyday life. These portrayals are the result of ongoing contact with the residents, full of sadness, disillusion, hope and happiness. They are portrayals of life here, of life now, both young and old, of men and women, of being there but wanting not to be, of personal and regional tragedy.

-From Manhattan, text by Jens Thomas

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About the photographer:
Stephanie Steinkopf (1978) earned an MA in Ethnomusicology, Contemporary History and Latin American Studies before starting to study photography. She graduated from the Ostkreuzschule für Fotografie in Berlin in 2012. Her long-term project ‘Manhattan – Street of Youth’ won first prize in the Vattenfall Photo Awards in 2012. In early 2013, Steinkopf’s work was presented in several gallery exhibitions, e.g., C|O Berlin, Kunstverein Tiergarten | Galerie Nord, etc. Her work is focused on long-term projects based on the development of close relationships with individuals.   Steinkopf is a freelance photographer in Berlin.

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cover2 Self- published | Format 24 x 28,5 cm | 39 photographs  84 pages |Carton cover |Open spine | Text by Jens Thomas in both German and English

Exhibition at Deichtorhallen, Hamburg, Gute Aussichten – new German photography 2013/2014, Febuary 7 till March 23

 

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For the PHOTOGRAPHY spot submissions, please see guidelines at ragazine.cc/submissions/

December 31, 2013   Comments Off on Photo Editor’s Choice / Jan-Feb 2014

The Poetry of Carnaval/Salvador Bahia Brazil

 

“Carnaval”

Salvador, Bahia, Brazil

Featuring Two Prose-Poems
by Tatiana Olga Rodeiro
with Photographs by Sacha Webley

Organized by Dr. José Rodeiro, Art Editor

“Carnaval in northeastern Brazil marks five days of beauty and chaos. Crowds erupt in the skin of the street, following enormous parades of musicians, dancers, and orixás, (ancient Yoruba divinities originally brought to Brazil by captured slaves). Here, where African, Amerindian, and European traditions have fused and transformed each other, the sacred, the strange, the debauched and the profound all party together. Men dress up as goddesses, women take their clothes off and howl at the stars. And everywhere, little children run back and forth, shouting in wild celebration. I’ve spent the last few Carnavals in Salvador, the capital city of Afro-Brazil, trying to absorb and capture the mystic strangeness that attends this annual event.”

Sacha Webley, photographer, painter, and poet; 2013.

“Whenever excruciating, shocking, or heartbreaking choices, tragic misgivings, cravings, constraints and burdens are evident, ‘Great Beauty’ manifests in great art, as artists quarry those cruel jagged dints and scars (‘soul-blemishes’), resulting from painful and shameful agonizing decisions, dark experiences, suspicions, yearnings, limitations and faults!”

Tara Dervla, critic, in a conversation
with José Rodeiro about Lorca’s duende; 2012.¹

* * * * *

From February 27 until March 5, 2014, the spirit of “Carnaval” will run wild in Salvador, Bahia, Brazil, fueling the largest “Street Party” in the universe. In the Roman Catholic liturgical year, “Carnaval” occurs the week before Ash Wednesday, after which begins a regimen of self-discipline, abstinence, fasting and moderation throughout the 40-day Lenten Season, which ends with Christ’s Easter Resurrection. The mad revelry of Carnaval derives from ancient Greek and Roman festivals (i.e., Kronos Rites, Saturnalia Feasts, and other fêtes) — pagan rituals celebrating the termination of winter, as well as spring’s advent.In Salvador, Bahia, “Carnaval” is known for being the most ebullient hot-blooded festival on Earth, demanding total freedom, full-blown self-emancipation, unabashed letting-go, or insisting by any means upon total Rimbaudesque emotional and intellectual release.

To document this distinctive Bahian milieu, Cuban-American poet-dancer, Tatiana Olga Rodeiro, has written two prose-poems, with an array of duende-filled photographs by Jamaican-American visual artist, Sacha Webley. Tatiana’s prose poems describe both daylight hours in Salvador and its nightlife as they capture Salvador’s post-colonial environment. This unique Neo-Tropicalia artistic collaboration reveals Salvador, Bahia, in words and images. In the same way that musicians conceive inimitable signature-sounds, the artists create their own distinctive poetic-visual language. By placing full emphasis on the subject matter, their art avoids getting in the way of their art. As John Keats argued in his letter of February 3, 1818, to J. H. Reynolds, “Art should be great and unobtrusive; a thing, which enters into one’s soul, and does not startle or amaze the soul with overt artistry, but, rather with its subject-matter.” Hence, in this Neo-Tropicalia collaboration where subject-matter dominates, Salvador, Bahia, carries the full aesthetic weight of what is being presented.

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* * * * *

“All this took place; let him who will believe. It took place in Bahia, where these and other acts of magic occur without startling anybody.”  — Jorge Amado. Salvador, April 1966

Beyond the wrought iron bars of my open window,
overlooking the port city of Salvador da Bahia,
the isolated ships groaning against their anchors
mirror the barking of stray matted dogs on the creaking docks
and the forsaken souls that wander the cobbled streets of colonialism,
encrusted in a shroud of shadows and the destitute gnawing injustice of hunger.
The Bay of All Saints sleeps before me,
blanketed in votive rose petals and silver fish scales,
strung pearls of constellations reflected, the collected patient hours
of sailors´ lives past, rusting slave chains and the sunken memoirs
of the illiterate, sacred offerings, candles and blood, lost objects,
broken hearts, longing and unborn children swimming, waiting.

The slithering echoes of memory, sailing across the background of centuries, are seeped amongst blades of grass in the forsaken fields of the Lord and the brown barefooted cities of engulfed cries, ravenous cities settled over the secret bones of subversion, buried like black Xangô stones in the brave indignant palms of clenched fists. The vermilion moon rose miraculously again from the bed of coral rocks that cradled the gaping sea of displacement inside you, where you cast your nets of merciful prayers for survival into the Atlantic Ocean, hoping to reach the distant shores of your lost home, so that at last your ancestors might answer your desperate call. May these unanswered tears spilled turn into serpents that swim into the undersea harbor of the Mother of salt waters, where dreams and sorrows are moored within the mercurial depths of her all-encompassing abundance. The white baptismal dress of seafoam adorns her eminence and the moonlight is her crown. The shells she casts mark the fate of our humanity. The moments of life poured from my body of salt and sea water and centuries of evolution and the ancient stories of entangled seaweed strands of DNA, of love and despair. All this as the immortal Atabaque drums echo throughout the hollow humid night of pulsating quiet stars, ringing out like gunshots across the sloping favelas, summoning the forces of the earth, the sirens of the rivers and the spirits of the forest, to awaken the lost Quilombo of memories that sleeps restlessly within the beating heart.
I swam with your daughters from the lively praia of Porto da Barra sprawling with glistening exposed bodies, barefoot soccer and capoeira games, radios blaring popular Axé and Samba-Reggae songs over which scrawny sun-scorched children hustle vending: “Cerveja! Queijo! Picolé! Acaí na Tigela! Coca-Cola!” We swam out to the rudimentary tiny wooden barquinhos lovingly painted bright blues and canary yellow left by the poor Bahian fishermen to toss upon the water until next morning’s catch. There, our drenched bodies swaying like eels above the water, we serenaded you with your ancient Yoruba songs, singing with all the might of our throats on fire and all the bound fibers of our being bursting forth, unraveling into freedom in the sheer moment of beauty as the sun melted into a crescendo of luminescent mango flesh over the enigmatic island of Itaparica. The local fishermen have built you a temple overlooking the water in the neighborhood of Rio Vermelho, for you to protect their vulnerable boats and to bring them in return fish to feed their families: it is a dream intimately anointed in sculptures of mermaids. Always a candle burns for you there. Every February 2nd , the entire city of Salvador proceeds to the shore dressed ceremoniously in white in honor of you, like white crabs instinctively hurrying across the sand, where entire fleets of these tiny fishing boats are proudly filled with an extravagant excess of gifts to be ritually scattered into the depths of the ocean to appease you and to praise you. Millions of roses are handed as gifts to you; they float beautifully upon the water, as gently adrift adornments.

Your waves have combed my hair; you have carried my screams, the letters and photographs of my life. You have fed me and caressed my body, healed my wounds, held my devotion, my anguish, my terror. You have inundated my spirit and borne witness to the greatest moments of joy I have ever known. I have sailed across this world that is yours; you have blessed me a thousand times over. You have bathed my family, you have brought my family here safely across your vast ocean — sailing across generations from Spain and the Canary Islands, off the coast of North Africa, to Cuba and the Americas; you are washed in the voices of my ancestors. My body is made of all the constituent elements of your being and my spirit holds the essence of your divine source. I carry the memory of your tidal rhythms within my own being. You are the primordial source from which my species crawled centuries ago. You were my womb before this life, you will carry me through the ebb and flow of this life as my deepest calling, and it is to you to whom I will return when my body dies. You are the Mother of All: Queen Iemanjá !

Suddenly, the dead, yet windy, voice of Jorge Amado swished through the tuft of a nearby palmtree, swaying, “On the crest of the ocean waves, Yemanjá, dressed all in blue, with her long hair of foam and crabs. Her tail of silver held three different sexes, one white of seaweeds, the other scum green, the third of black powers. With her fan, the abebê, she called up the winds of death. She commanded a fleet of hulls of ships; an army of fish greeted her silently: Oboiá !”

 

* * * * *

Salvador, Bahia, Brazil at Night

The labyrinthic winding one-way streets of the old original part of the city are impossibly narrow, breeding malignant jeering predators; stewing Hieronymus Bosch-faced drunkards by night, blockaded on either side by the decaying teeth of wary Baroque facades. Rounding the corner — where a blood-glistening obsidian rooster nestled in a ceramic bowl, awaiting the imminent crossing of Exu,
a rabid gang of grey bulletproof-vested armed policia militar encircle a small man;
a forsaken runt of the human litter; just an indignant and diminished alcoholic skeleton, saran-wrapped in cinnamon skin and panting backwater lingo,
who cowers further into his sagging tropical neon swim-trunks, while being restrained and beaten down into unforeseen anguish: a helpless snare, undefended in the end by the puffed-up projection of machismo that he had used his entire life to navigate this fermenting city.

I must pass. . . .
swallowing the palpable panic of my own heightened vulnerability
and the thundering impulse of righteousness and humanity coursing my veins,
I tell myself, “I m only a young woman; I have no say in any of this,”
as I continue stepping forward over heaving piles of dog-eaten trash sloshed in human urine.

There is only one darkness.
To see it, all one needs are human eyes and the cradle of history.
To know it, I have only to uncover the rifts and poisons within my own being.

I know that my fear will only feed this violence.

And, who among us can trace how far back the mind goes
or the depth of the source from which all these thoughts come streaming through — all wise and insane and beautiful with stupidity and refracted light.

To neutralize man, there is only one other possibility of polarity.
It is all I ever had to give. . . .

A song,
like the black moist seeds hiding in ripe papayas amid the urgent grace of thirsting hummingbirds,
erupted from the constraints of my ribcage,
dumbfounded and rich, stepping out into the suspended night.

“Blossom of snow, may you bloom and grow;”

On the top of my throbbing lungs,
elated and grieving,

“Bloom and grow forever.”

and in this moment, somewhere on the other side of the earth,
the dust of my mother’s strong-boned ancestors smiled at a field of glorious wildflowers, which I will never be able to gather.

I did not look back to see if a hesitant trace of peace that lingered from the imprint of my song — echoing open an aperture in time,
a mantle, through which light might enter, infiltrating
and perhaps slither in through porous ears, soothing belligerent blood, softening clenched fists, sending everyone home for a night’s rest in the plump arms of their worried wives.

Perhaps this man was my rapist with a knife like the crescent moon,
if Salvador had been running on schedule for once,
and my naive song meant nothing to this world
as it bled over ancient cobblestone streets worn down by the forgotten footsteps of slavery and slipped like silent lizards through the cracks where bruised pastel paint peels like fruit skins off the mildewing walls of colonialism.

I do not know, if there will be any windows in prison for him to receive sunlight and the passage of days, or if even that is stripped away solely by the usage of artificial fluorescent lighting. Perhaps this man’s last memory of true light will be the faint twinkling of a distant hanging garden of tiny white mountain flowers, choking on the smog of plastic burning in the lower city, as a foreign girl singing sweetly in a foreign language passes behind an impenetrable wall of shouting, guns and armor, as she walks home to write down ‘his story’ and look out her bedroom window, wondering about the inner story behind all that has happened here.

 

About the contributors:

 

Sacha Webley is a photographer, painter and poet living internationally. More of his work can be seen at www.sachawebley.com.

Tatiana Olga Rodeiro is a poet and dancer, born in 1988 in Appalachian Maryland. For the last six years, she has lived in Salvador, Bahia, Brazil, where she studied dance at La Escola de Dança da Fundação Cultural do Estado da Bahia. She has appeared on Brazilian TV programs. Her poems, written extemporaneously with little revision, have been published in the Edison Literary Review; The Cultural Journal; Nexus; Exit 13, Solstice, and elsewhere. Her undergraduate degree is from Naropa University, Boulder, Colorado.

Jose Rodeiro‘s take on duende is explored in “What is Duende?“, http://www.duendeart.org/# . He is art editor of Ragazine.CC, and professor of art history at New Jersey City University.

 

December 31, 2013   Comments Off on The Poetry of Carnaval/Salvador Bahia Brazil

On Location/France

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Renate Buser, My castle my home“,
Festival ARTORT , Schlossruine Heidelberg, September 2013

RENATE B– USER :

What Is the Essence of Time?

by Jean Paul Gavard-Perret

For Renate Buser, born in 1961 in Basel,  a fiction as such can be real. In her use of fiction there is always a Buserspeculative dimension: the possible possible and the not possible possible. The Swiss artist instrumentalizes fiction in constructed situations in the same way others paint apples. However, she does not invite the spectator who is in front of her large images to take part. They are there, but they are more spectators of themselves than of the image the artist proposes in  her specific protocol . She is not interested in making a spectacle, even if the landscape is suddenly different.  But such photographs and “curtains”  tend to intensify the presence of the image. In front of these photographs it is probably the experience of duration, the passing of time, that facilitates the conscious thought that occurs in the gap between perception and the formation of memory. Buser’s views of sunlit curtains offer the possibility of a clarion explication brought by light as well as the knowledge that  present follows past, as day follows night and spring follows winter. Buser’s work enables new ways of thinking, making the viewer aware of the way he moves temporally through the streets and houses accumulating memory, perceiving life as mystifying images.

— Jean Paul Gavard Perret

JPGP:  What makes you get up on morning?

RB: I love my work and my life- that makes me get up in the morning.

JPGP: What happened to your dreams as child?

RB: My childhood  dreams still keep me going today.

JPGP: What did you give up?

RB: I have given up the idea of having children.

JPGP: Where do you come from?

RB: From a place called Barmelweid, 800 m above sea level and the fog belt, in the hills of the Jura, Switzerland.

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JPGP: What is the first image you remember ?

RB: I remember being about 6 years old…, my friend and I climbed out on the roof top of our house, which was, for our parents, very scary.

JPGP: That is what distinguishes you from other artists?

RB: The size of my photographs.

 

JPGP: Where do you work and how?

RB: I work as much as possible outside, in big cities or historical sites , and inside in my studio, for  conceptual work and the execution of the final pieces.

JPGP: To whom do you never dare write?

RB: I admire a lot of artists, filmmakers, writers, architects,the list is very long. Cindy Sherman is one of them.

JPGP: What music you listen while working?

 RB: I dont listen to music while working.

JPGP: What is the book you love read again?

RB: Slightly out of focus, by Robert Capa.

JPGP: When you look yourself in a mirror who do you see?

RB: Me

JPGP: What city or place has value of myth for you?

RB: Magnesia, in Turkey

JPGP: What are the artists you feel closest?

RB: The one’ s who surprise me, for example:  Omer Fast.

JPGP: What film make you cry?

RB: This film makes me cry  – and laugh: Short Cuts, by Robert Altman

JPGP: What would you like to receive for your birthday?

RB: A trip to the North of Canada to see the northern lights ( Auroris Borealis)

 

This interview with photographer/artist Renate Buser by Jean-Paul Gavard-Perret, took place 7.September 2013.  See also: Renate Buser, “Photography in Architecture, Photography of Architecture in Pavilions”, Art in Architecture,  Edition Le Bord de L’Eau-La Muette 2013,  ISBN: 978 2 35687 245 6

 

  * * * * *

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Marc Desgranchamps, text Eric Verhagen, Fondation Salomon;
2013, Alex, France.

The Marc Desgrandchamps Experience

 by Jean Paul Gavard Perret

“What do you expect an artist to be? An imbecile who has only eyes if he is a painter, ears if he is a musician? Quite the contrary, he is at the same time a political human constantly alert to the heartrending, scalding and happy events in the world, molding himself in their likeness.”

Those words of Picasso could easily have been spoken by Desgrandchamps. Both are inspired by examples from the past, but powerfully engaged in its own present.

buserb

 

Desgrandchamp’s very engaged body of work is one with the man’s deep, powerful sense of the human condition. The painter’s practice embodies the belief that “existence precedes essence,” and that man is condemned to be free. He always allows himself to say what he feels and thinks, and to say it in his painting. His control of his actions and even destiny, as well as the values he adheres to, keeps both the man and the work free from parasites, independent of anything thrown at them by fashion or “spirit of age.”

With Desgrandchamps, painting has always the last word. It reaches beyond both the beholder and the painter himself, moving continuously from one canvas to another, yet without constituting a story. It conveys a power whose history can be realized as the consequence of its flight and its freedom.

 

 

About the reviewer: 

Jean-Paul Gavard-Perrett writes about music and the visual arts. Born in 1947 in Chambery (France), he was a professor of communication at the Université de Savoie. He has published several essays, mainly about Samuel Beckett and painting, and short fiction, most recently “Labyrinthes,” Editions Marie Delarbre.

December 31, 2013   Comments Off on On Location/France