Old time professional migratory laborer camping on the outskirts of Perryton; Texas at opening of wheat harvest. With his wife and growing family; he has been on the road since marriage; thirteen years ago. Migrations include ranch land in Texas; cotton and wheat in Texas; cotton and timber in New Mexico; peas and potatoes in Idaho; wheat in Colorado; hops and apples in Yakima Valley; Washington; cotton in Arizona. He wants to buy a little place in Idaho
Extended Caption: California at Last: Example of self-resettlement in California. Oklahoma farm family on highway between Blythe and Indio. Forced by the drought of 1936 to abandon their farm, they set out with their children to drive to California. Picking cotton in Arizona for a day or two at a time gave them enough for food and gas to continue. On this day, they were within a day’s travel of their destination, Bakersfield, California. Their car had broken down en route and was abandoned.
The Pre Art Landscape is one in which there are images only attractive to some’s intellect that titillates the intellect of others who are over educated, over intellectualized, clean from lack of experience with the world that they choose to not touch and where, through their lack of desire to know a world around them other than the one aforementioned, allows them to revere and praise that which is without interest to anyone but them and their ilk.
So here is an image from my Guggenheim Fellowship submission. I created this less than fifteen minutes ago by walking out the back door of my slum loft (yes there are still some around that the yuppies and Julias haven’t occupied and, therefore, chased out those who were living there, not for some feeble concept of what is cool, but because, previously, they could afford the rent if they were willing to put up with the inconveniences and degradations of everything that the word “slum” implies).
If I hadn’t written this piece I very well may have earned a Guggenheim.
I coulda been a contenda…instead of -let’s face it- a bum…which is a what I am…*
I couldn’t resist the rant.
I suspect that’s what has saved my heart’s soul from an early death.
The meteorologists call this a “High Pressure system being pushed out by a Low Pressure system.”
Photographers will admit “every once in a while things come together and you get a lucky.”
What do I call it? What does one get for being out there, every evening and every day, always with your “axe (camera)at the ready, often coming home with nothing but the pleasure of having been out there trying?”
The funny thing is, as usual, I was in a part for town I’d never been in before (there are few left). It is a very unusual ‘hood for El Paso. In another city one would call it the “ghetto.” Here, no one thinks there is a ghetto. Being a predominantly latino city (82%), if you have a neighborhood that is lower income, the natural thing is to call it a barrio. This neighborhood was definitely “low income,” and of the three people I conversed with, two had been drinking alcohol to the point of inebriation. It is a mostly Black neighborhood, unusual in El Paso that is only 4% African-American.
Editor’s note: Susan Meiselas, Magnum Photographer and long time great documentarian, discusses documentary photography, motivations, uses, intentions and hopes for the work’s impact on subjects and society.
This project, funded by the Open Society Foundations (Meiselas Co-Curated the project’s exhibition), shows the work of some of the world’s best contemporary photographers working in this discipline.
You got to love paper. And aging. And photos. And writing.
Yes, it’s all in the “database” there, at the end of the keyboard, through Google. But is it?
Even if it is it has no texture, no odor, no reality.
Take this trip to The New York Times Morgue. A perfectly wonderful place to spend a lifetime.
Ami Vitale’s journey as a photojournalist has taken her to more than 75 countries. She has witnessed civil unrest, poverty, destruction of life, and unspeakable violence. But she has also experienced surreal beauty and the enduring power of the human spirit, and she is committed to highlighting the surprising and subtle similarities between cultures. Her photographs have been
exhibited around the world in museums and galleries and published in international magazines including National Geographic, Adventure, Geo, Newsweek, Time, Smithsonian. Her work has garnered multiple awards from prestigious organizations including World Press Photos, the Lowell Thomas Award for Travel Journalism, Lucie awards, the Daniel Pearl Award for Outstanding Reporting, and the Magazine Photographer of the Year award, among many others.
Now based in Montana, Vitale is a contract photographer with National Geographic magazine and frequently gives workshops throughout the Americas, Europe and Asia. She is also making a documentary film on migration in Bangladesh and writing a book about the stories behind the images.
Andrea Bruce is a passionate, stylish, skilled documentary photography who’s images -in the best traditions of still photography- sear your soul and drive their point through your heart, restoring it instead of terminating it. She is the new breed of documentary photographer that blends all the skills of good journalism with all the skills of great graphic image-making and produces a coctail that is nothing less than photo alchemy.
Contact Sheet of Ashley Gilbertson’s Conflict Photography
“He has a very good news sense and for me that’s really essential,”
says Cecilia Bohan, foreign picture editor for The New York Times.
“I need them [her photographers] to be my eyes and ears on the ground.”
Ashley Gilbertson is a VII photographer and one of the strongest Conflict Photographers working today. His recent work, done far from the battlefield but in the bedrooms of fallen soldiers, is one of the strongest testaments to the outright sadness about Loss that War induces, that this editor has ever seen.
In a way, all Visual Journalists who do stories on people, are doing “biography,” but with the addition of audio, where the subject can speak for themselves (edited, of course), where the image-maker can animate the images and drive the viewer’s emotions, the subject of the story becomes more “alive,” the depth is ratcheted up, and, potentially, the medium is beginning to resolve the age old struggle of photojournalism: Who’s viewpoint is this about? The subject’s or the photographer’s?
Dhiraj Singh is a Photojournalist who lives in Mumbai, India. His work has been published in numerous international magazines and online journals, including Newsweek, Vanity Fair, msnbc.com, The Wall Street Journal, L’Expresso, and, many others. He has won numerous awards (see his “bio,” on his site, above) and participated in many exhibitions. His pictures of the Mumbai terror attacks in 2008 were part of the prestigious group exhibition titled, ‘Bearing Witness’ held in Mumbai in 2009.
Documentaryshooters is honored to have permission to publish Mr. Singh’s work. We feel he has the insights and skills to show India as it is, depicting its greatness and its struggles, its deep and ancient soul as well as its modern and energetic heart. He, as no other photographer has, since, the great Raghu Rai’s seminal work of the 1970’s, ’80’s and 90’s, not only shows India and the sub continent, he makes us feel it.
This is a rock band video based on a magazine article about kidnap victims in Kashmir and those who wait for their return. This is one of India’s most revered bands and was one of India’s all time most popular rock songs.
Sometimes we forget that the “Big Work,” the work that one becomes known for making isn’t all there is.
Bruce Davidson went south, from Chicago, on instinct.
The world was shaking and he felt the vibe.
The time was now: Civil Rights.
Without assignment or specific destination he “nailed it,” and was able to work on the edges of the news, tell the story from a personal and deeply intimate viewpoint.
This image, for me, is one his best. Beautiful composition. Beatiful moment. Beautiful storyline. Iconic and packed with all the elements that make it a novel unto itself, if this was the only photography that existed from the era it was shot in, it would, I think, be enough to tell the story of the struggle.
One word and one image: sometimes it’s enough: Vote.