Jason Vinson – Holi

Jason Vinson

Holi

India is a hard place to shoot. Not because there is nothing to shoot, but because there is so much to shoot. The country is filled to the brim with colorful buildings and interesting people. It can almost feel like shooting fish in a barrel. Go during the Holi festival and things get easier. The country is now engulfed with colored powder and dyed water. People fill the streets in celebration of good over evil and the coming of spring. Going into a situation like this, it can be easy to shoot at anything and everything, but I really wanted to shoot something different.

I went to India with the idea to shoot one camera with a single prime lens. This allowed me to concentrate only on the moments that fit my focal length and also saved me from chasing images that were never going to work. I didn’t have a specific story in mind while shooting, but knew I wanted the images to work in a series as well as be able to stand alone. To do this, I considered the light to be king. If there wasn’t interesting light on the subject, it didn’t make the cut. What I was left with are a set of images that are held together by the light they share.

 

 

 

Bio

Jason Vinson is rated as one of the top 100 wedding photographers in the US and Canada. Based in Northwest Arkansas, him and his wife run the photography company Vinson Images. They specialize in Creative and documentary photography and are inspired by light and moments.

 

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Jason Vinson

Abhishek Basu – Labyrinth

Abhishek Basu

Labyrinth

The mind is quite a labyrinth, much like the night—a journey into the depths of which these images attempt to dig deep into. When suddenly faced with a vast, dark and intrinsically violent world along with the godforsaken challenge of trying to find one’s place in it, questions of identity followed by its variety of whys, whos, and whats parallel in the night. A lost, curious, and most importantly, fearful mind, juxtaposes itself with the ways of the night; its shrieking silences, its blurring madness, its anxious scare, its haunting concealing and sometimes the most hair-raising of it all—its reverberatingly conscious, stillness.

Meaning is sought to be found by questioning order, stability, organization, and singularity through a clever play of light and dark, shadows and silhouettes, nature and culture. The images ache to etch the journey of a self, which is ripping itself apart with every click—in the raw, on the streets, via a certain quest through haphazardness, over and above the ‘senses’, under and into the construction of reality.

Turning Descartes’ ‘I think therefore I am’ right over its head, the images reiterate why one ‘un-thinks and therefore is’. Focusing on the instinctual, the pleasurable, the nonsensical, the entire process of funding meaning, is questioned. By running in circles in search of and away from, identity and the very root of the self is created by a spiraling sense of sinking found at the bottom of it all.

I believe that the substance of the labyrinth project is to form the ‘I’ whose processes of formation are these images themselves. It is the loop that entraps, engulfs and somehow in the process of it all, itself becomes the loop.

Text by Joyona Medhi

 

 

 

Bio

Abhishek was born in 1990 in Tatanagar, Jharkhand, India . It all started with the mere idea of discovering stories. As a young boy, Abhishek became interested in photography after assisting his older brother in the television industry in Mumbai. He began his studies in communications, but after discovering an attraction to photo books, he chose to study documentary photography in New Delhi. Abhishek photographs people and environments that are directly relatable to where life has taken him. He uses the medium within a wide range of reasons such as comprehending his own anxieties, to bridging social barriers. This is the main topic of discussion in his ongoing and work-in-progress book, Ellipsis. In 2017, he received a scholarship from Burn Magazine to attend a workshop in Puerto Rico with Magnum photographer David Alan Harvey. Abhishek is as a freelance photographer, and he works for various publishing houses on experimental story telling techniques, book design, curation and multimedia. Taking to Abbas’s advice, “buy a pair of shoes and fall in love with it”. Abhishek’s subjects span the wide variety of where life and his understanding of it has taken him. Through seeing macro concepts out of his anxiety, to even using the medium to bridge social barriers in his ongoing work ellipsis.… One can say that the photographer in him attempts to make the most out of the power of his lens every day.

Abhishek currently lives in New Delhi, India.  

 

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Abhishek Basu

Ruth McDowell – Malaiku

Hannah, 15 years Boko Haram stormed into my house on the night of the 28th of September 2013. I was in a deep sleep, they asked my sister, mother and I to come outside. My father was not around at the time. They asked our names and upon hearing our Christian names they decided to take me away. I am the daughter of a pastor, and at the time I was only 14 years old. When I left the house with them, they burnt a church and then journeyed for two days to reach their camp in the Gwoza hills, it was a long and difficult journey. Once I reached the camp I was forced to join Islam, given a new name and they married to one man. I managed to escape one night with two other girls. I am still struggling with the memories but I am trying to focus and to continue with school and become a business woman.

Ruth McDowall

Malaiku

I am openly embraced by three young ladies running up to me greeting me as Aunty Ruth. During five years living in northern Nigeria, I have seen many haunted faces, but these girls look different, haunted and also broken. I wanted to photograph them looking like the strong resilient survivors they are, but as they sat slumped in their chairs, I had the heart breaking realization that at such a young age these beautiful young people have lost their innocence and experienced the worst of humanity They are just a few of the many youth that have been abducted by the Islamic extremist group Boko Haram. Boko Haram has been rapidly increasing attacks in Northern Nigeria. Sadly young girls and boys have now become a target. Girls are used for tactical reasons and a form of punishment to them and their communities. And hundreds of young boys have been taken to use as fighters, and indoctrinate them in Boko Haram ideologies. Up to 500 girls have been abducted since as far back 2009 from the north-eastern Borno and Yobe states.

Boys and girls have been abducted while, travelling on the roads, attending school, working on farms, and from their homes during attacks on villages. They are put through psychological abuse, forced labour, forced marriage, forced to convert to Islam, and become victims of sexual violence and rape. Boko Haram are taking young people on operations and teaching them to carry ammunitions and eventually to kill. A recent development is young girls being sent out as suicide bombers. There are now reports coming out from escaped abductees that the Chibok girls still in captivity are now notorious fighters Some have been fortunate to escape however many still remain captive. The Chibok attack on April 14, 2014 was the largest case of abductions, with 276 girls taken, 57 managed to escape. It brought the attention of the world on Nigeria, and to the atrocities carried out by Boko Haram.

Escapees of the Chibok attack have received some counseling and educational scholarships however there remains a serious lack of support for girls and boys abducted before and after Chibok. They urgently need post trauma counseling as they struggle with the memories, and many no longer attend school fearing they will be kidnapped again. Many of the girls that escaped are now stigmatized, and often relocate to new towns as they ostracized by their neighbors. It is not uncommon for abuses against children and youth to go unprosecuted in Nigeria. A code of silence prevents justice taking place, robbing them of their rights as the victim. More often than not youth bare the brunt of conflict.

 

 

Bio

Ruth McDowall is a New Zealand born photographer, She studied fine arts at Elam art school Auckland, New Zealand. In 2008 she travelled to northern Nigeria, creating a project teaching street kids photography. Her documentary photography started from these initial years immersed in the city of Jos. She has now lived in Africa for 7 years. In 2015 she received a Photo Reporter Grant to complete a project about youth that escaped abduction by Boko Haram in Nigeria. This project was selected as Times best 10 photo essay of the month, a finalist in Lensculture visual story telling awards 2015 and featured on New Yorker Photo Booth and National Geographic Proof. Some of her clients include Time, Newsweek, Telegraph, Elle, The Guardian, Le Telegrame, IO Donna, and Jeune Afrique, Heinrich Boll Foundation, Al Jazeera magazine, Buzfeed, Glamour,UNESCO, Action Aid and UNICEF. Realizing the limits of photography she also continues her work with street youth in Nigeria.

 

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Ruth McDowall

Message from David Alan Harvey

Video by Frank Overton Brown III 

 

Emerging Photographer Fund

 

EPF 2016 Recipient  is Annie Flanagan with her essay “Deafening Sound”

FujiFilm/Young Talent Award 2016 Recipient  is Aleksander Raczynski with his essay “Views”

 

Diana Zeyneb Alhindawi – Pride Uganda

Jackson Mukasa rests his head on the lap of his friend, Kim Mukisa, who has dropped by for a visit to Mukasa’s home in Kampala, Uganda. In January 2014, the two were beaten and arrested, accused of homosexuality. After 5 months in jail, their case was dismissed for lack of prosecution. After their release, they began life anew, having been robbed of their possessions. Mukisa, a clothing designer, also lost his atelier and shop in downtown Kampala. Uganda is known to be one of the worst countries in the world for LGBT human rights. Kampala, Uganda. August 14, 2015. © Diana Zeyneb Alhindawi 

Diana Zeyneb Alhindawi

Pride Uganda

Between August 5th and 9th, 2015, the LGBT community in Uganda held their fourth Pride celebration despite the country being one of the worst in the world for LGBT rights. Moreover, the turnout was larger than ever before. As with previous Pride celebrations, the events were held in “secret”: they were not advertised to the public, and took place in private locations disclosed to members of the LGBT community and their supporters only a few days before an event. The program included presentations on issues of concern to LGBTs, a Mister and Miss Pride competition, a Pride march, and various other performances and festivities.

 

 

Bio

Diana Zeyneb Alhindawi uses photography to explore the human condition across a variety of political and cultural contexts. She is based in Brooklyn, USA, but usually works in areas experiencing social unrest or humanitarian emergencies. Her photography has been published and showcased by various media outlets, including the New York Times, The Sunday Times Magazine, The Wall Street Journal, Le Monde and Vice Magazine, and by international NGOs like Doctors without Borders/ Médecins Sans Frontières, Human Rights Watch and International Committee of the Red Cross. In 2014, she was named one of Lens Culture’s Top 50 Emerging Talents for 2014. In 2015, she received the ICRC Humanitarian Visa d’Or Award for her coverage of the Minova Rape Trial, eastern Congo’s most significant mass rape trial to date.

Diana’s interests reflect her multicultural background and upbringing: born in rural Romania to a Romanian mother and Iraqi father, Diana witnessed her family experience political circumstances that landed them as refugees in the former Yugoslavia, after which they were resettled to Canada. These early experiences led her to pursue careers in humanitarian aid and in human rights. For several years, she managed programs for the United Nations, and international nonprofits like Save the Children USA and Oxfam Great Britain, working on the ground in areas affected by conflict or natural disasters. In mid-2013, she decided to focus her professional efforts entirely on photography.

 

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Diana Zeyneb Alhindawi

Stefano Schirato – Where Shall I Go?

Stefano Schirato

Where Shall I Go?

“I don’t think anyone will survive,” said Schiavone, repentant, in his secret testimony. “In Casal di Principe, Castel Volturno, and so on, the inhabitants are all at risk of dying from cancer within twenty years.” He was former treasurer of Casalesi clan controlling the territory in the so-called “Land of fires”: an area in Campania, situated among the province of Caserta and Naples, sadly known for being the most polluted area of this region, due to millions of toxic waste that have been illegally dumped here over the past 20 years. National and international industries have been illegally disposing hazardous waste thanks to deals with local politicians and the Camorra, cutting down the enormous costs of legal disposing. Waste is not only buried underground, in fields where agriculture and farming are present, but also incinerated. The environmental disaster is the greatest in Italy, affecting not only soil, and the related products of agriculture and breeding, but also the aquifer. The presence of leachate flowing underground; poisons filling up enormous caves; the air unbreathable due to miasmas and the smoke coming from pyres set on fire. Day by day, the lives of people living near the dumping sites are put at risk, especially among children and young people.

My work is actually made of two strands: on one hand, the story of a land, tormented by an underworld pollution, that’s sentencing the inhabitants to death. On the other hand, my purpose is to tell the story of its inhabitants: young children who died of cancer; inconsolable but courageous mothers, who unceasingly march and protest against this massacre; ill people, daily fighting to keep alive; teenagers who lost their parents and claim a better future. All these people united by the same destiny and by such a strong attachment to their origins that if you dare ask them why they don’t decide to move somewhere else, you might get an answer like “And where shall I go?”.

 

 

Bio

Stefano Schirato was born in Bologna in 1974, where he graduated in Political Sciences.
He has been working as a freelance photographer with a keen focus on social themes.
 After several reportages covering topics such as the condition of the street children living in the sewers of Bucharest, he was  awarded with a scholarship to take part in a course with Magnum photographer Paolo Pellegrin.
In 1999, together with the Non-Governmental Organization New Humanity and in support of Emergency, he proposed to witness the drama of landmines in Cambodia. This work gave birth to his first book, Gli occhi della Cambogia, with a preface by Ferdinando Scianna.
Starting from 2000 he devoted himself to a long-term project about seized ships which was to take him, over the next two years, in various mediterranean ports in order to document the life of maritime prisoners on board.
In 2002 he met the Oscar-winning film director Giuseppe Tornatore, who examined his images and encouraged their publication.
 The same year, the publisher Silvana Editoriale launched his new book entitled Né in terra, né in mare (neither on sea nor land) with an essay by G. Tornatore.
 In the last years has been divided between social issues and still photography and backstage of G. Tornatore’s movies. His works have appeared on Vanity Fair, Panorama, D La Repubblica delle Donne, Il Manifesto, International Herald Tribune, New York Times, Cnn, Le Figarò Magazine, Washington Post, Geo International. His last work on the Refugee Crisis along the Balkan Route “One Way Only” has been exposed in the Chamber of Deputies in Rome by the President Laura Boldrini.

 

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Stefano Schirato

14&15 Mobile Photographers – #1415IRAN

Photo by @ayda_rasulii

Photo by @ayda_rasulii

14&15 Mobile Photographers

#1415IRAN

A photographic book and a permanent observatory on today’s Iran, made by Iranian photographers. Using their smartphones, they tell the story of the daily life of a country caught between modernity and tradition; the richness of a collective memory in continuous growing Iran, which is one of those countries that we know very little about. It possesses incredible photographic talent that has found a way of expressing itself with smartphones and shares its vision with hundreds of thousands of people on Instagram. The audience is mostly young adults, college students, some of them are photographers or want to be, and others are involved in social issues. A lot of these people have organized themselves in photographic groups, worked on projects for Instagram that have later being exhibited on photographic gallery. We aim to show the face of a different Iran. Not the one shown by outside media experts, giving their own iconographic interpretation of the country. Not the one shown by a single photographer hand-picked by media as the professional “witness” to tell a story that does not belong to him, published in a magazine and cleverly packaged to meet its editorial policy. We aim to show Iran in the same way as seen by Iranians, through their photographic talent.

Inviting the large number of Iranian followers of our Instagram page, we launched the hashtag, #1415IRAN, for six months, and collected over 16,000 images from more than 300 Instagramers. This reflected an incredible visual richness and provided eyewitness accounts of life, tastes, habits, entertainment, traditions, healthcare, women, family life, modernity, country life, religion, and street life from the people of Iran.

Even after the deadline closed in August 2016, new images are still coming in every day. This is a sign of the productivity of Iranian mobile photographers and their desire to establish real, as well as virtual relationships with the outside world. They seek professional opportunities, as a way of belonging to a wider world.

The publication of a book involves a drastic selection of images, reducing the number of 16,000 to 80-100 photographs. A mass of precious material will be lost in the Instagram sea. Somehow this is a waste, dissipating richness and a knowledge available for everyone. For this reason, we want to open a permanent observatory, a website as an open window on the imagery produced daily in Iran. It will be the second step. At the moment we are concentrating only on the book, as it can be the first place to preserve part of this collection of images. It can also contribute to a better understanding of Iran and in doing so, eliminate a series of clichés.

To support the printing costs, we have recently launched a crowdfunding on Kisskissbankbank platform, to let people be more involved in project, as they can share the contents of #1415IRAN project and support the printing, buying one or more copy of the book in pre-sale.

 

 

Bio

14&15 Mobile Photographers is a web platform dedicated to the discovery and the promotion of photographic talents, through a series of activities such as book publishing, collective projects, exhibitions, prints sales and more; we focus on photographers using the new tool for producing their stories-features-pictures: the smartphone. The platform has been founded in 2015 by photographers Giorgio Cosulich de Pecine and Giulio Napolitano, with over twenty years of experience in international photo-journalism, working for clients such as United Nations, Getty Images, Agence France Presse, Nike, Qantas, Newsweek, Time, Stern, NY Times, Vanity Fair and many more.

 

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1415 Mobile Photographers

Diego Moreno – Guardians of Memory

Diego Moreno

Guardians of Memory

“His truth shall be thy shield and buckler… A thousand shall fall at thy side, and ten thousand at thy right hand; but it shall not come nigh thee. Ps. 91:4,7.”

This series originated with “Los Panzudos Mercedarios”, the stout guardians of the neighborhood of La Merced in San Cristóbal de las Casas in Chiapas, México. The Panzudos represent the sins: the more sins a person has to expiate, the bigger and uglier his attire will be, the better to cure his sins. These figures herald the feast day of Our Lady of La Merced and accompany her, purifying themselves in the process. The announcement is made as the figure of the Virgin Mary passes by, carried on the shoulders of her bearers, with a retinue of Aztecs, Catholics, and Moors mounted on horseback. They are dressed as Arabs and with their faces painted. This attire represents the Muslims who invaded and occupied Spain between 702 and 1492. Integrated this ancestral imaginary with the exploration of familiar universe. I try to investigate the links, the monstrosity, disease and death. I explore the tunnels of representation of domestic space. Fusing it with pre-Hispanic traditions and the apocalyptic visions of the Catholic religion. This work gives new meaning to the complex tangle of the concealed and the visible, the individual and the collective subconscious, on the highly complex map of coexisting cultures and beliefs in contemporary Mexico.

 

 

 

Bio

Diego Moreno was born in San Cristóbal de las Casas, Chiapas, México in 1992. Since 2012 he has studied photography at the Art Gymnasium Chiapas. He won a scholarship for a Photo Narrative and New Media course at the Pedro Meyer Foundation awarded by the World Press Photo Association of 2014. Graduated of Contemporary Photography Seminar from Center for the Image in 2015. Selected by The British journal of photography as one of the emerging photographers to follow in the world as a talent issue 2016, in London England. Moreno has been creditor to the prize acquisition of the X Biennial 2015 Puebla de los Angeles in Mexico. Also in 2015 he has been granted with the scholarship “JOVENES CREADORES” by the National System of Creators in México FONCA/CONACULTA. He was finalist within Latin American Identity Cuartoscuro contest in 2016 and finalist within International Photography Award Emergentes dst 2016 in Braga, Portugal. Nominated for the Joop Swart Masterclass of World Press Photo in Amsterdam in 2016 and its Latin American Broadcast in Mexico in 2015. She has participated in group and Individual exhibitions in Mexico, Chile, Taiwan, Malaysia, Ámsterdam, London, Spain, E.U and Brazil.

 

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Diego Moreno

Swarat Ghosh – Beyond Street

Swarat Ghosh

Beyond Street

For me in the street I normally try to catch the emotions more than anything. For me “Content” is the King. As long as I am getting strong subjects with varied emotions which people can easily relate to, I think as a photographer I have done justice to myself. I just enjoy the whole experience of making pictures till date. For me, street photography is all about the timing and the capacity to observe. I pat myself on the back for the sheer dedication with which I push myself when making images on the streets. Many times I feel to skip on weekends (due to my software job) but somehow drag myself just for the sheer joy of clicking that magic picture at a time.

 

 

 

Bio

Swarat Ghosh is a Hyderabad based Street photographer . He is also part of a street photography collective called “That’s Life”. His work has been published in several national and international magazines including National Geographic Traveller and International Street Photographer. For him, photography is all about the timing and the capacity to observe. He loves taking photographs that are complex in composition and layered with multiple descriptive and conceptual elements, depicting stories from everyday life. His work is exhibited in London, Paris, Glasgow, Thailand, Mumbai & Hyderabad. Last year he won a Neel Dongre Awards for Excellence in Photography grant organised by India Photo Archive Foundation. The Neel Dongre grant was his first serious attempt at documentary photography.

 

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Swarat Ghosh

@swaratghosh