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michael christopher brown – china

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EPF 2010 Finalist

Michael Christopher Brown

China

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I feel most alive while on the road. As a result, I am often drawn to photograph people in a state of transition. Fifty years ago President Dwight D. Eisenhower ordered the construction of Americas Interstate Highway System, which helped open the Heartland and West and create a culture that would eventually spread around the world. China is experiencing a similar boom in industrialization and culture and I am currently driving around the country, photographing along the expanding road network. While the final form of this project remains unclear, while crossing the country I can only continue to listen, record and grow.  A loose approach, using small film cameras while often photographing without looking through the viewfinder, has enabled me to focus less on the lens and more on having an experience.

 

Bio

Raised in Washington State, Michael moved to New York and began working as a freelance photographer in 2006. His clients include GEO, Time, National Geographic Magazine, Smithsonian, Fortune, The Atlantic and ESPN The Magazine, among others. When not on assignment he might be found driving around China in his modified bread van.

 

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michael c. brown – libya

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ESSAY CONTAINS EXPLICIT CONTENT

Michael Christopher Brown

Libya

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LIBYA
Since arriving ten days ago, I have tried to understand the situation here in Libya. People swap facts, predictions and rumors, the news feeds me information, but the complexity of the conflict makes it impossible to fully comprehend. Once a picture is taken or a word is written it is already old news. There seems to be no way to catch up, as the database of history is filed before it is processed. And as a result I have become more confused. But I can attest to one reality, shown in these photographs. They form a loose record of my experience during the war in Libya.

CAIRO TO BENGHAZI (FIRST JOURNAL ENTRY)
Around midnight we piled into a tiny car and drove for 7 hours, from Cairo to the eastern border of Libya. A wide eyed nicely dressed Egyptian city man, our driver with slick black greasy hair, persuaded military officer after officer standing beside tanks that he had foreigners and therefore special privilege to pierce the curfew barriers and drive west, as if in a high-speed chase on empty highways, past the beautiful night city of Cairo and into a deep desert countryside as cigarette smoke escaped out the window. Somewhere sometime we passed the pyramids, not too longer after a pit stop with a McDonald’s and a shopkeeper selling ‘StarFuck’ ashtrays shaped as green coffee cups. The jetlagged dreams of 3 packed in a backseat took us elsewhere as the sun rose over the Mediterranean just beyond the sand dunes. The barren desert, looking left to nowhere looking right to the sea. The towns were simple shacks and here and there and rare were men in long robes without faces standing still. Wearing white robes and black robes, with camels near the sandy highway.

Would Libya be different? Would it be a different world? Something told us so. Something would be there for us. Danger, excitement, importance, freedom, death. Perhaps all. Smoking cigarettes. We arrived beyond Salloum where lines of trucks and cars waited for those leaving Libya. Arms in the air, Egyptians and Chinese and Indonesians crossing to somewhere safe. We moving in the opposite direction, elated. Then more journalists, then some we knew. On the other side more people piled up. A hall full of Indonesians, laying about as if dead so I exchanged my Egyptian money with their Libyan, using a rate in their favor and losing $100 in the process. Something to do. Then we walked the 1000 yards or so to the Libyan gate, guarded by men in plainclothes and rebels.

A man in dark sunglasses glanced suspiciously at us. They inspected our passports, we filled out a quick form and walked to Libya, to a road bordered on both sides by tall cement walls. Two Libyans of about 25 offered to take us to their hometown of Benghazi. We jumped into the van, looking a lot like my Jinbei in China. The concrete walls, looking like blast walls, surrounded trucks and cars wedged together in a narrow dusty strip with men wrapped in scarves holding automatics and eying the interior of our ride suspiciously. They were young men, these rebels, with old men in the background watching. No uniforms, like bandits, they were among the opposition who had recently wrested eastern Libya from Gaddafi. They nodded heads with our driver, who sped up, then sped up again, passing cars and whizzing past a littered landscape of wrecked automobiles and buildings and into an emptier desert than Egypt’s.

Faster faster our driver outsped his buddies in the other van, and his eyes faster than anything existing in the desert that day or anytime before. His eyes beyond the horizon, beyond what was happening in the country. All the fighting could not reach the (what was it in his eyes?) it in his eyes. A few windy turns but not many, the highway whisked through abandoned (after coming from china everything looked abandoned) tiny sand towns with few buildings, all small and plain and square or rectangular against the pastel landscape. But mostly phone lines, empty phone lines carrying messages to the west and we were messengers to the west. Driving faster now our drivers eyes not leaving the road. Faulty communication. I know little Arabic and him the word ‘smoking.’ One stop at a road café we ate tuna sandwiches and photographed a man and his gun. Our drivers buddies caught up and we raced each other down the road, the landscape turning from sand to rock then greenery. It began to rain. We made Benghazi by nightfall and arrived at the African hotel. The first night spent in a real bed in Africa, with dirty sheets and one cockroach.


Bio

Raised in Washington State, Michael moved to New York and began working as a freelance photographer in 2006. His clients include GEO, Time, National Geographic Magazine, Smithsonian, Fortune, The Atlantic and ESPN The Magazine, among others.


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michael christopher brown – sakhalin [EPF Finalist]

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Michael Christopher Brown

Sakhalin

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Emerging Photographer Fund – FINALIST (number four of eleven)

Introduction:

Photographed predominantly in the broken, rusted, skeletons of communities around Sakhalin Island, Russia, these images explore the wintry atmosphere of a remote land and its people, long scarred from the Soviet era and left behind in modern times.

Artist Statement:

I have always searched for obscure places to escape to and explore. I spent much of my childhood carving trails in mustard and cornfields and wandering the roads and woods of rural Washington State. As I grew, my interest turned to extreme sports and through these activities I reaped fullness in life. Moreover, as a stuttering youth these solo, expressive pursuits were seemingly vital vehicles of communication.

After physical injuries alienated me from this lifestyle and my friends, my father taught me photography. The camera led me inward and I discovered the richness in not only documenting experiences and the physical world but in visually interpreting my surroundings by noticing what was happening inside myself. To see beyond the depressed emotions in my life, photography, paradoxically, showed me a way to recognize the life behind things, a means of expression beyond the physical world.

Bio:

Raised in the Skagit Valley, a farming community in Washington State, Michael earned a BA in Psychology and Art from Western Washington University and the University of Hawaii in 2000.

After completing an MA in Visual Communication from Ohio University in 2003, he won the College Photographer of the Year Competition and completed internships at The State Journal-Register and National Geographic Magazine before beginning freelance work in 2006.

In 2007, his essay profiling industry in the Pearl River Delta Region of China was broadcast on PBS during The News Hours with Jim Lehrer. Later that year, American Photo named him one of fifteen emerging “photo pioneers.” In 2008 he was selected for the World Press Joop Swart Masterclass, named a Magenta Emerging Photographer, a PDN 30 and a ‘Young Gun’ by The Art Directors Club in New York. In 2009 he won a Juror’s Choice Award from the Santa Fe Project Competition.

A contributing photographer to the Grazia Neri photo agency, Michael is working on a project about Broadway.

 

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Editor’s Note: Please only one comment per person under this essay..Futher discussions should take place under Dialogue..

Many thanks…david alan harvey