Photography

Xiaomi launches photography-focused 14 Ultra smartphone

Xiaomi launches photography-focused 14 Ultra smartphone

Xiaomi has unveiled its latest flagship photography-focused smartphone, the Xiaomi 14 Ultra, as it seeks to take on Apple’s iPhone and Huawei Technologies in the competitive high-end segment.

The Xiaomi 14 Ultra, launched on Thursday, is the latest member of the Xiaomi 14 series with prices starting from 6,499 yuan (US$903). This compares with a starting retail price of 5,999 yuan for an iPhone 15, and 7,999 yuan for an iPhone 15 Pro.

Pre-orders are under way and the handset will officially go on sale on February 27, during this year’s Mobile World Congress (MWC), an annual flagship industry event that will take place in Barcelona, Spain.

Huawei tablet shipments rise in 2023, bucking global decline

The Xiaomi 14 Ultra hits the shelves amid cutthroat competition in the high-end smartphone segment following Huawei’s return to the scene with its 5G-capable Mate 60 Pro handset, launched in late 2023.

Xiaomi has been promoting its camera and photography features as selling points following a partnership with Leica in 2022, after the German camera maker ended its seven-year deal with Huawei.

Xiaomi president Lu Weibing described the Xiaomi 14 Ultra as “a new flagship in mobile imaging” with upgraded photography kits, including a main camera with a large one-inch sensor and a variable aperture.

The new handset is powered by Qualcomm’s Snapdragon 8 Gen 3 chipset and is equipped with Xiaomi’s proprietary HyperOS operating system.

Other new products launched this week include a new tablet, the 6s Pro 12.4, the laptop Redmi Book Pro 2024 and Remi Monitor G Pro 27.

Lei Jun, the co-founder and CEO of Xiaomi, said in late 2021 that the company aimed to become the world’s biggest smartphone maker in three years by exceeding Apple.

However, Xiaomi has kept its third place globally for smartphone sales for 14 quarters in a row, behind Apple and Samsung. According to IDC data, China’s mobile shipments in 2023 dropped 5 per cent from a year ago to 271 million units, the lowest in over a decade, although a recovery is expected in the coming year.

Lei wrote in a social media post this week that Xiaomi’s smart factory in Beijing has completed construction and is capable of producing over 10 million phones per year.

Xiaomi’s stock price closed 1.34 per cent lower at HK$13.22 in Hong Kong on Friday.

A Photographer’s Empathy

A Photographer’s Empathy

On January 16, Dmitry Markov, 41, known for his depiction of everyday Russia through smartphone photography, died in Pskov. Markov was a recipient of the esteemed Russian photo competition Serebrynaya Kamera (“Silver Camera”), the Getty Images Instagram Grant, and the author of the photobook Chernovik (“Draft“).

“The place that Dima occupied in our photography was completely empty before his appearance. I can’t recall anyone who photographed Russia with such affection and authenticity,” said publisher Leonid Gusev.

Born in Pushkino, Moscow Oblast, Markov honed his craft under the tutelage of Alexander Lapin, a prominent Russian photographer and educator. He contributed his talents as a photographer and journalist for the newspaper Argumenty i Fakty (“Arguments and Facts”) and collaborated with independent publications such as Meduza and Takie Dela.

After joining Instagram in 2012, Markov embraced the concept of David Alan Harvey’s Burn Diary project, exclusively utilizing a mobile phone, and only posting images on the day they were taken.

Markov’s signature style culminated in his participation in the 2016 iPhone 7 advertising campaign “Taken on the iPhone,” marking him as the first Russian contributor among 15 photographers from around the world.

A group of nuns enters a church and a group of women leaves it
Photo from Dmitry Markov’s Instagram.

He focused on life in Russian locations that are distant from urban centers, and on marginalized communities, including the homeless, correctional school alumni, substance users, individuals with disabilities, and prisoners. Despite criticism alleging that he offered a bleak portrayal of Russian life, Markov defended his focus on the gritty details, citing his empathy for those facing hardship, which was rooted in his upbringing in impoverished conditions and his journey overcoming substance abuse.

Markov also documented protests, capturing poignant moments, such as a 2021 photograph depicting a police officer clad in uniform and a balaclava beneath a portrait of Russian President Vladimir Putin, symbolic of the repression against dissenters in the way of Alexei Navalny’s arrest. Recognizing the impact of his work, Markov auctioned the popular photograph to support an organization aiding political prisoners (it brought in over $21,000).

Markov also documented the aftermath of Russia’s invasion of Ukraine, including scenes of Russian military departures. One of Markov’s final images showed a Russian war participant in Alexandrov, Moscow region, concealing his face while reflecting on the horror of witnessing death.

Dmitry Markov’s indelible contributions to photography offer a poignant testament to his empathy, capturing the essence of Russia with sincerity and compassion.

Exteriors – Annie Ernaux and Photography

Exteriors – Annie Ernaux and Photography

The Nobel Prize-winning French writer Annie Ernaux has long been regarded as a master of recording her inner life and how we experience identity and memory. Her book Exteriors (2021) looks outwards, focusing on the ‘ephemeral encounters that take place just on the periphery of a person’s lived environment’. This exhibition at the Maison Européenne de la photographie (MEP) finds parallels between Ernaux’s writing and its own collection of candid snapshots of everyday life to reflect on how we perceive and relate to other people (28 Feb–26 May). It includes photographs such as Hiro’s Shinjuku Station, Tokyo (1962) and Jean-Christophe Béchet’s Istanbul, Turquie (Turkey) (1986), which depict strangers passing by in a flash, echoing the sentiments of Exteriors and emphasising how photography and literature can complement and inform one another. Find out more at MEP’s website.

Preview below | View Apollo’s Art Diary here

18 heures, Pont de Bercy, Paris (18 hours, Bridge of Bercy, Paris) (1979), Claude Dityvon. MEP Collection, Paris; © the artist

Istanbul, Turquie (Turkey) from the European WE 2015 portfolio (1986), Jean-Christophe Béchet. MEP Collection, Paris. © the artist

Nabari Mie (1977) from the Fushikaden series (1971–78), Issei Suda. MEP Collection, Paris. Courtesy Akio Nagasawa Gallery; © the artist

Nature is his muse: Works by photographer Lou Wallach on display at Salmon Falls Gallery, Feb. 22 to April 28

Nature is his muse: Works by photographer Lou Wallach on display at Salmon Falls Gallery, Feb. 22 to April 28

Greenfield Recorder – Nature is his muse: Works by photographer Lou Wallach on display at Salmon Falls Gallery, Feb. 22 to April 28

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Lou Wallach’s photography is on display at Salmon Falls Gallery, Feb. 22 to April 28. Contributed Photo by Lou Wallach

Lou Wallach's photography is on display at Salmon Falls Gallery, Feb. 22 to April 28.

Lou Wallach’s photography is on display at Salmon Falls Gallery, Feb. 22 to April 28. Contributed Photo by Lou Wallach

Lou Wallach's photography is on display at Salmon Falls Gallery, Feb. 22 to April 28.

Lou Wallach’s photography is on display at Salmon Falls Gallery, Feb. 22 to April 28. Contributed Photo by Lou Wallach

Lou Wallach's photography is on display at Salmon Falls Gallery, Feb. 22 to April 28.

Lou Wallach’s photography is on display at Salmon Falls Gallery, Feb. 22 to April 28. Contributed Photo by Lou Wallach



Traveling around the country on his motorcycle, Lou Wallach sees nature like no one else. 

Thirteen hanging framed prints and 22 unframed works of Wallach’s black-and-white photography will be on display at Salmon Falls Gallery, located at 1 Ashfield St., from Feb. 22 to April 28.

Wallach, who had a 20-year career as a commercial photographer in Manhattan, takes stunning photos of nature, prompting his audiences to contemplate the natural world in a new light. Now 68, he began taking photographs at age 9 when he sneaked his father’s camera out of the house. He later studied photography at the Rochester Institute of Technology.

Wallach rides his Honda cruiser on country roads with a camera hanging around his neck; he stops frequently to document the beauty he finds, keeping the subject matter imbued with spontaneity. His current practice involves taking digital color photos which he edits, converting them to black and white, and controlling which grays correspond to what colors.

He explained that black and white photography allows him to draw attention to certain parts of the photo he hopes to highlight.

Seldom do people or human-altered landscapes appear in his work. Wallach focuses on things in their original form. “I’m open to what Mother Nature has to show me,” he said. 

His work for the show spans from the northern tip of Nova Scotia to Colorado. He explained that traveling to different places and “reporting on his findings” keeps his photos varied and interesting. 

Living across county lines in Stockbridge, Wallach resides on a farm where he has a showroom space that he invites guests to for open houses about four times a year and allows viewing of his work by appointment.

Along with photography, Wallach is also a skilled wood-turner. His work is available year-round at Salmon Falls Gallery and at his showroom. He explained that his sense of design applies to all of his creative endeavors and is evident in all of his works. 

“Whether traveling or stepping out the front door, hand-held stream-of-consciousness or slow careful study, I photograph as the surroundings call my attention. Often, I’ll pre-visualize some desired outcome, only to have that photograph altered by the light, structure, and nature of the location. Sometimes I’ll find an image I’ve sought for years, though generally not where I expect it,” Wallach said.

Reach Bella Carmela Levavi at 413-930-4579 or blevavi@recorder.com.


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Motaz Azaiza: ‘I Didn’t Want to be a War Photographer’

Motaz Azaiza: ‘I Didn’t Want to be a War Photographer’
Motaz Azaiza
Motaz Azaiza

A Palestinian photographer who rose to fame for his raw imagery from inside Gaza has reflected on his new-found celebrity since being evacuated from his war-stricken home.

Before the October 7 Hamas attacks and the subsequent Israeli assault on Gaza, Motaz Azaiza had around 27,500 Instagram followers. Since then, the photojournalist has grown his following to 18.6 million.

His unflinching photos are often graphic — frequently showing the wounded and dead. Instagram often slap a “Sensitive content” warning on many of his posts that incorporate raw mobile phone footage capturing the horrific realities of war.

“With my phone, I can show you everything,” Azaiza tells The New York Times. “This is my country. I did this for my family. I did this for Gaza, to show the world without any filters, without any lies.”

Azaiza says he is now regularly stopped in the streets by people who recognize him and want a selfie. He is currently living in a hotel room in Qatar, something he says “feels strange.”

The photographer gave a round of media interviews recently where he expressed hopelessness saying that his endeavors are “all worthless” because nothing has changed.

“We are talking about the UN’s highest court and it wasn’t even able to make Israel suspend its airstrikes or call for a permanent ceasefire,” he tells The Guardian.

Azaiza says that he found his passion for photography when he was 16 years old (he is 25 now) and found it to be a therapeutic hobby.

“I always dreamed of being a travel photographer. I wish I reached people with my beautiful pictures of Gaza, not with our suffering,” he says.

“I didn’t want to be a war photojournalist. But you don’t have the option, you don’t have the freedom to choose.”

Azaiza says that he was operating with a “damaged camera body and lens” while documenting the war which he says is “unlike anything we’ve ever experienced” despite living through numerous Israeli offensives.

He also says that the Israel Defense Force (IDF) deliberately targets journalists. The Committee to Protect Journalists says at least 83 members of the media have been killed in Gaza since October 7. An investigation by Reuters news agency found that an Israeli tank crew was responsible for killing one of its visual journalists in southern Lebanon.

“Journalists were like the most targeted people,” he says while speculating that perhaps his huge Instagram following may have protected him.

Israel denies targeting journalists and says it “takes all feasible measures to mitigate harm to civilians.”


Image credits: Photographs by Motaz Azaiza

Navigating the Future: The Impact of AI on Creativity in Photograp…

Navigating the Future: The Impact of AI on Creativity in Photograp…
image

In a world where the boundaries between the tangible and the digital blur, the emergence of Artificial Intelligence (AI) in the creative industries sparks a fascinating debate. At the heart of this conversation are professionals like Nino Batista, a renowned photographer, and Renee Robyn, a celebrated Canadian digital artist. Their insights shed light on a topic that’s as controversial as it is evolutionary: the impact of AI on creativity, particularly in photography and digital art.

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The Creative Conundrum

On one side of the canvas, Nino Batista articulates a sentiment shared by many artists: the lack of authenticity and human intent in AI-generated art. Batista’s perspective underscores a critical element of creativity — the human touch, which he argues, AI cannot replicate. Across the spectrum, Renee Robyn offers a nuanced view, acknowledging the revolutionary potential of AI while also pointing out the challenges it poses, such as the devaluation of human effort in the creative process. Both Batista and Robyn emphasize the importance of education and awareness in understanding and navigating the future of AI in their fields.

A Historical Perspective

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Reflecting on the evolution of technology, both experts draw parallels between the advent of AI and past technological disruptions, such as the introduction of photography and Computer-Generated Imagery (CGI). These technologies, once viewed with skepticism, have become integral to the creative industries. This historical context suggests that while AI presents challenges, it also offers opportunities for integration and acceptance. The key, according to Batista and Robyn, lies in adapting and evolving with the technology, rather than resisting it.

Looking Ahead

Despite the apprehensions surrounding AI, there’s consensus among experts that a dystopian future of machine dominance is unlikely. Instead, the focus is on how AI can be managed and utilized positively, with an emphasis on the collaborative potential between AI and human creativity. This perspective is echoed in the broader discourse on AI’s impact on the creative industries, including AI in art and creativity and AI-generated visuals in music. The consensus is clear: with mindful management and educational efforts, AI could enhance rather than diminish the artistic process.

In conclusion, the dialogue surrounding AI in the creative industries reflects a broader conversation about technology’s role in society. As professionals like Batista and Robyn navigate these waters, their insights provide valuable guidance for artists and technologists alike. The future of AI in creativity is not a question of replacement but of collaboration and innovation. By embracing this perspective, the creative industries can forge a path that respects the integrity of human artistry while exploring the vast possibilities AI offers.

Tech Byte – A pair of pros take on Artificial Intelligence in photography

Tech Byte – A pair of pros take on Artificial Intelligence in photography
Industry experts don’t think the machines are taking over just yet

CHATTANOOGA, TN –

Since the invention of the camera over 200 years ago, photography has gone thru significant upgrades. It’s gone from Dark Rooms, to one-hour photos to digital.  Cameras have gone from big and bulky to sleek and some even pocket sized.

Artificial Intelligence has been unleashed on the world and some believe that, if left unchecked, we could end up in a late 90’s science fiction movie where the machines are taking over the world.

Professional photographer Nino Batista doesn’t quite think we’re headed for extinction, but he did take time to share his opinions.

“I’m not being naïve but I will say this.  There’s something to be said for the lack, when I say lack of the human element in AI generative developed things where it’s music or video or visuals or photography.  When I say there’s a lack of a human element what’s lacking is the authenticity. There’s nothing more in depth there right, it’s missing something. Right? It’s missing that extra,” Batista said. “Audio voiceovers that are incidental like when we’re seeing people fake a celebrity that’s a legal matter and that probably won’t last very long because the celebrity will jump in. But when it comes to incidental voice like video games? You have a bunch of dialogue? Can you imagine not having to hire a voice actor anymore? You can just have the video game say whatever the heck it wants to say in the middle of the game and it’s gonna sound completely fluid. Not completely new either because we have siri and alexa and things that talk back to us.”

Nino and I had a great conversation about the uses of AI that have been around much longer than most people realize.  AI has been used in some of our favorite songs over the last 40 years and even in the 80s people thought musicians would be replaced with machines, but in 2024 they’re still selling out concerts worldwide.

“That extra element is what’s missing in AI. It will replace some things, but actual art, is what, the actual art in my opinion that matters will never be replaced per se because there’s no intent and intent is human,” claims Batista.  “Computers can make beautiful things that are striking and useful but intent and purpose will never be replaced by that.”

For a different perspective we also talked to a world traveled digital artist hailing from Canada named Renee Robyn. She is known around the world for her digital art with a career that spans more than 20 years.

“I mean my perspective on it is that I’m firmly in the middle.  I have one foot that’s like absolutely terrified of what’s coming to us and the other foot is really, really excited about what’s coming.  The biggest thing that I think we have to be mindful of because this is Pandoras box has been opened and there is no way we can ever put this back,” says Robyn. “So the biggest way to combat that is education to understand and to teach people how do we spot AI. How do we train other AI models to spot when AI is being used. Do you remember early CGI and when people couldn’t figure out what was real and what wasn’t? But now of course we look back on it because we’re all educated and we’ve all seen things grow, CGI especially the early stuff is very obvious. I think the same thing, a similar thing is going to happen with AI over time. We’re going to see people who are writers who are looking at that and going yeah that was probably written by a robot and this is written by a human being.”

According to Renee “I try to always look at the technology as if I was a 16-year-old artist again and looking at this and using it as like what could I do with this? What does this tool allow me to do? But on the flip side it also cheapens the work because there’s a lot less effort that goes in to it. But I’m so fascinated about how the applications are going to go forward in animation. I’ve built my career I have a huge library of photo stock that I have shot myself and I’ve traveled all over the world to shoot it but now I can just go on to these computers and just type things in. But of course, none of these things that we render out of these AI models are copyrightable whereas the images that I create that I have that I’ve photographed all the pieces for are highly copyrightable material.”

Both of my friends had positives and negatives to say.  Nino even referenced that Photography was once accused of killing artists because no one would want paintings if they could have photographs but Andy Warhol sold paintings in the 60s and 70s over 100 years after photography was invented. While new technology has always frightened some and excited a few of us, Renee had one addition that I hadn’t considered.

“This is the type of technology that has the impact to change the world in the way the invention of the smart phone did. So having these devices where we basically carry around our collective knowledge of the entire world, the access to it in our pocket is bananas,” says Robin.  “We didn’t know with the creation of the smart phone that companies like uber were going to exist. Right? You know companies like these millions of apps that you can get. None of these would have existed without the smartphone. So, I think that with this technology we just have this shiny new device and everyone thinks whoa ‘this is so cool’ but the actual application and how this is really going to change the world is probably not for another 2-5 years and maybe faster than that.”

While AI is not necessarily new, it is here and more prevalent.  Neither of our experts here seemed to think that we’ll end up in a science fiction movie, as long as we don’t give the machines a means to produce their own energy and resources.  I think we can all agree that with all new things and new technology, education is the most important step in the journey.

iPhone 16 and 16 Pro cameras: What photographers can expect in 2024

iPhone 16 and 16 Pro cameras: What photographers can expect in 2024

Just like clockwork, Apple is expected to stick to its annual iPhone release cadence and ship updated models this fall. Likely to be unveiled in September, the iPhone 16, iPhone 16 Plus, iPhone 16 Pro, and iPhone 16 Pro Max will all replace the models that are on sale today. And as ever, we can expect a few improvements along the way.

While it’s still relatively early days for the new models, and rumors are only that, we do have some ideas of what those iPhones will have to offer when the covers are taken off later this year. New chips, potentially bigger displays, and revamped buttons could all be part of the fun, but for some people, it’s all about those cameras. The best iPhone to those people just happens to be the one with the best cameras, and 2024 could be particularly notable on that front.

Last year, it was the iPhone 15 Pro Max that took the crown thanks to an improved 4x optical zoom capability brought about by a new tetrapism lens, but things are set for a shake-up this time out, assuming the rumors are accurate. We’re going to dive into those rumors and outline what we expect the camera situation to be for the upcoming iPhones right here, but it’s important to remember one thing right out of the gate — rumors are only rumors until Apple announces the new iPhones this fall and until then, it’s impossible to be sure what the company has up its sleeve.

With that said, let’s dive in.

iPhone 16 and iPhone 16 Plus cameras

iPhone 15 Plus review

(Image credit: Future)

Current rumors have the iPhone 16 and iPhone 16 Plus sporting the same cameras as the outgoing iPhone 15 and iPhone 15 Plus, which isn’t a bad thing by any stretch of the imagination.

The iPhone 15 models sported a new 48-megapixel main sensor, a notable upgrade over the previous sensor used in the iPhone 14 series of devices. The ultrawide camera is expected to retain its 12-megapixel sensor from last year’s model, while the selfie camera is also likely to continue to be a 12-megapixel part.

However, while the sensors might not be changing these two models could yet benefit from a whole new videography feature. If the rumors are true, a new, vertical camera layout will be used rather than the diagonal one of recent iPhones. The reason? The Apple Vision Pro.

The Apple Vision Pro is currently the hottest ticket in town, and one of its standout features is spatial video, a 3D video recording and viewing experience. While the Apple Vision Pro is the only Apple device capable of viewing spatial videos, it isn’t the only one that can capture them. The iPhone 15 Pro and iPhone 15 Pro Max can also record spatial videos, while the iPhone 15 and iPhone 15 Plus cannot, thanks to their diagonal camera array.

By moving the cameras to a vertical orientation, Apple could allow all new iPhone 16 models to record spatial videos via a stereoscopic lens configuration. It’s a move that makes plenty of sense, and Apple will no doubt want to give as many people as possible a chance to record videos for playback on their new $3,499 spatial computing device.

iPhone 16 Pro and iPhone 16 Pro Max cameras

iPhone 15 Pro Max used at Scary Fast event

(Image credit: Future / Apple)

While the iPhone 16 and iPhone 16 Plus might be getting camera upgrades, those who want the best of the best will still want to go Pro. However, they might not need to choose the iPhone 16 Pro Max this time out.

That’s because persistent rumors have the iPhone 16 Pro gaining the iPhone 15 Pro Max’s 5x tetraprism camera which could give it zoom parity with its larger cousin. Such a change would be a big move for Apple and herald the end of the current crop of 3x zoom models.

Alongside the tetraprism switch, there is also talk of a new 48-megapixel ultrawide camera, a move that could vastly improve the quality of shots it can take. This ultrawide boost is also tipped to come to the iPhone 16 Pro Max as you’d expect.

There are also reports of a change in lens construction technologies for the new high-end iPhones as well, potentially allowing for so-called super zoom capabilities. While that doesn’t mean a whole lot on its own, the label is normally given to cameras that have a focal length of more than 300mm. Such a figure would be much higher than that of the current iPhone 15 Pro Max’s zoom lens which sits at 120mm.

Beyond these changes, there is little already known about these new models, but it’s vital to remember that we are a long way off any of these new iPhones being announced and there is plenty of time for Apple’s plans to change between now and their release.

The Apple Vision Pro factor

Spatial video app

(Image credit: Apple)

If the rumors turn out to be accurate all four new iPhones released in 2024 will be capable of capturing spatial videos which is a move that could see the number of people capturing 3D home movies balloon.

Such a move would see Apple leverage the iPhone to help it build added value into its new AR/VR headset in a way that few other companies can achieve and it’s a decision that makes tons of sense. It’s also a decision that leaves room for some unknowns, too.

Apple’s WWDC 2024 event is likely to take place in June with iOS 18 and visionOS 2.0 likely to be two of the announcements. If Apple does have some new Apple Vision Pro features on the way the new iPhones could be key to those plans. We might not learn about them until the fall, but anything Apple announces at WWDC could give us a glimpse of what’s to come in September. It’s tea leaf-reading at its finest, but it can often work, too.

This article is part of iPhone Photography Week 2024. Expect new posts to appear daily, focused on making your photos shot with iPhone better than ever before.

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Perspective | Intense, poetic, immersive photos of Turkey in turmoil

Perspective | Intense, poetic, immersive photos of Turkey in turmoil

When he was just 8 years old, photographer Emin Ozmen was waiting for a bus to his hometown of Sivas, Turkey. He was holding his parents’ hands and noticed they were forlorn. He later found out the reason: A group of radical Islamists had carried out a deadly attack on a hotel in his hometown. This tragic event was the first of many he would experience throughout life.

Ozmen recounts this formative event in an essay at the end of his newly published book, “Olay” (Mack, 2024). He goes on to say:

“This traumatic event was the first ‘olay’ — ‘incident’ or ‘event’ — I experienced. The first I can remember. … On that day, my innocence vanished. It was as if I had to try to understand everything, to document all of it, to feel whatever it was to compensate for the helplessness and disbelief I felt that day.”

Fast-forward a few years and he began a life as a photojournalist, wrapped up in many more “olays.” At first, he worked for a newspaper in Turkey but then became disillusioned, “after witnessing the manipulation of information within the newspaper I was working for.”

Ozmen resigned from his position as a staffer and embarked on a journey of independence, working as a freelancer.

In the following years, Turkey would see an uncanny spate of cataclysmic events, from military operations to student protests, disrupted elections, earthquakes, forest fires, drought and finally an economic crisis.

Ozmen was right there in the thick of all of it, documenting it with real flair, sensitivity, urgency and empathy. This was his country in turmoil, after all, and, as a child, he had pledged to try to make sense of life in it.

“Olay” is filled with eloquently executed black-and-white photographs, interspersed with a few color ones. There is poetry and surrealism in them. They fit with the idea of a country experiencing waves of chaos and uncertainty.

We are thrust, inexorably, into the chaos Ozmen witnessed firsthand. He pushes us into the middle of what he is seeing. The book is a visceral documentation of the push and pull of chaotic event after chaotic event. It is, indeed, a monumental testimony to not just the rough and tumble in Turkey but, by extension, the very world we live in.

Maybe it has always been a tumbling, out-of-control world, but over the past few years, it has felt as though the “olays,” as Ozmen refers to them, keep coming at a faster and faster clip.

Here’s the thing: Ozmen isn’t fatalistic about any of this. As he says at the end of his essay in the book:

“Never a week without a drama, never a month without a major event. Here, nothing is simple, everything intermingles and clashes, the beautiful as well as the ugly, sadness as well as joy. Our hearts are heavy, tired, but the resistance prevents us from falling into total despair. We have not forgotten that not only torment but grace wanders around us.”

You can find out more about the book, and how to buy it, here.