PHOTOGRAPHY ZINES AND BOOKS NO: 58

Influences: Numero Ten by Thomas Knott & Alex Harrison

       Who?

Thomas Knott & Alex Harrison are Tokyo based photographers. The project is curated by Zerofeedback a Tokyo based independent publisher specializing in contemporary photography, design, and culture. They produce and distribute small but high quality publications.

What?

Influences is a series of publications that connect two photographers who, in a sequential manner, will influence each other for the compilation of each publication. At the time time of this article, they are up to 12 editions.

This edition titled, “Japan Dialogues” features Alex and Thomas embarking on a photographic exploration of Japan, merging distinct mediums to capture its multifaceted beauty.

Details.

20 photos / 22 pages, square format 210x210mm
color matte coat 135kg
50 copies limited edition

Where?

You can order from the Zerofeedback webshop here. The price is about 17.50 USD and note there is a typo on the website when ordering as it says “numero eleven” but is “numero ten.”

Restrooms by Joel Pulliam

Who?

Joel Pulliam is a Tokyo based photographer and member of the photo collective, Void Tokyo, and frequent curator of their Instagram account. He is also a former Visual Interviewee that you can see here.

What?

That is right, a book on Tokyo restrooms! It certainly shares an affinity to his previous zine Slopes, not only heightened by the similarly minimal design, but in the manner of documentation. Both saw the photographer searching out these marks and working in any and all compositional effects for its dynamism. I alluded to the Friedlander approach writing about Slopes, but it really is about the mediation. I recall at the annual Void Tokyo exhibition last year that saw Joel finding a striking shadow composition and shooting everyone who walked into it. Found it interesting because he printed and shared all the images (around 1o0) which really heightened the digital aspect. Which made sense to me, because if you are going to do it, why shy away from the digital medium’s strength? Either way, repetition through meditation prevails through all these projects.

Why?

I will refer to the photographer’s statement, “All around my neighborhood, I pass buildings that are being torn down to make space for newer, shinier ones. Only the public restrooms seem immune to change.”

Details.

Limited edition of 100, printed in Japan.

A5 size, 28 pages, 17 photos plus an essay.

Where?

*Important announcement from the photographer.

“For every copy of RESTROOMS or SLOPES bought during the remainder of January, I will donate the entire purchase price to Peace Winds, a trusted NGO that is providing support and medical care to those who were evacuated due to the earthquake in western Japan on New Year’s Day.

Tens of thousands have been forced to leave their homes. Many are elderly and in need of immediate medical treatment. Please consider joining me to help”

You can order by DM via his Instagram here.

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Thanks to our two guests for their submissions, it is a really cool thing to be able to share them all with you. And remember, this is open to everyone. If you would like to have your zines or books featured then all you have to do is mail me. Hopefully there will be plenty more of you who want to get your books and zines out there to the world. Another installment will be coming soon.

Thanks,

JCH

Jan 08, 2024 12:24 PM IST

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Peter Magubane, who died recently, was part of a legacy of photographers whose photographs helped uncover the suffering of people in undemocratic regimes

On January 1, photographers and human rights activists woke up to the news of Peter Magubane’s death at 91. Magubane turned his lens on the cruelty of apartheid in South Africa at its peak. His stark images of the racial divide led to him being punished and kept in solitary confinement for 586 days and for five years after, he was not allowed to meet more than one person at a time. In the wake of his death, here’s looking at some other photographers who chose to turn the lens on undemocratic regimes across the world.

PREMIUM

Corrine Dufka first picked up a camera during her stint as a social worker in El Salvador in the mid-eighties. From 1988-1999, she photographed extensively in Central America, Bosnia and Africa—most notably the genocide in Rwanda. Her book, This is War: Photographs From A Decade of Conflict, chronicles not just the conflict she covered, but also the toll it took on her. “But as the years passed, I became aware that, with each war, what I gained in stature as a photojournalist, I lost in human empathy,” Dufka writes in the book.

Born in Tehran in 1952, Hengameh Golestan began photographing in 1972, at a time when there were just a handful of women photographers in the country. In March 1979, just a day after the hijab law was enforced in Iran, Golestan took to the streets with 20 rolls of film and documented the mass protest against an oppressive regime that had most affected Iran’s women. One of her iconic images shows impassioned women defiantly braving the snow, protesting – without the hijab.

Ernest Cole was born in 1940, in a Black freehold township in Pretoria, South Africa. At 16, he decided to take up photography in the middle of a raging apartheid in the country. While Peter Magubane was shooting protests and on-the-spot violence, Cole was more focused on photographing people living on the margins of a society that was now more divisive than ever. He’s known to have gotten access to prisons by getting arrested himself. There’s an iconic image of his, of a line of black men outside doctors’ offices undergoing a medical examination in the nude, in South Africa. By 1966, it was getting hard for Cole to work in South Africa, and his seminal book House of Bondage was published in New York in 1967. It was an unapologetic, accusatory look at the atrocities of the apartheid. In 1990, Cole died in New York, after having sadly faded from the scene in the 1970s itself.

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• South Africa
• Human Rights

When it comes to political scandals recently, there have been plenty of offenses to choose from — including lying about nearly everything, indictments on bribery charges and unsettling blends of hypocrisy and allegations of sexual misconduct. And then there’s the case of Mayra Flores, who served one term in the House of Representatives and is seeking to return to the House after district lines were redrawn. She’s currently seeking the Republican Party’s nomination in Texas’s 34th Congressional District.

As Andrea Flores explained in a Los Angeles Times article, former Rep. Flores has been under fire for posting photographs of food on her social media accounts. How is this a political scandal, you might ask? Apparently, Flores has a habit of posting images of food to her social media that she didn’t take — and which, in some cases, aren’t correctly identified.

The Times cites one instance in which Flores posted what appeared to be an image of her making food for her family — except the image was identical to one used by a tourism website promoting travel to Guyana. Investigations by both the Texas Tribune and Current Revolt turned up more examples of Flores’s social media posting images of food that were taken from other sources — and sometimes didn’t quite line up with the food described in her post. In one instance, a post from Flores identified a gas stove as a wood-burning stove.

The scandal, Current Revolt’s article notes, has been dubbed “Grubgate” on social media. When the Texas Tribune reached Flores for comment, she told them that “[t]he photo simply reminded me of my upbringing in Mexico and childhood.”

Will this scandal be enough to cost Flores the election? We’ll know in about two months — as of now, she is one of four hopefuls seeking the Republican nomination in a March 5 primary.

Members of the 11th Marine Expeditionary Unit fire mortors during training at Camp Buehring, Kuwait, July 28, 2019. (Dalton Swanbeck/U.S. Marine Corps)

Writers, poets, photographers — or anyone with a story to tell or image to share about the Marine Corps — have until Jan. 15 to submit an entry for the Marine Corps Heritage Foundation’s annual awards program.

The competition is open to work across 18 categories from civilians and service members in any branch. Prizes include a $2,000 prize, commemorative plaque and an invitation to the foundation’s annual black-tie dinner.

Categories include autobiography, biography, non-fiction, poetry, reporting and features, along with various photography and videography classifications.

For example, the Robert A. Gannon Award, named after the noted poet, is given for a volume of original verse by a Marine poet dealing with Marine Corps life. The James Webb Award, named for the U.S. senator, author and Navy Cross recipient, honors distinguished fiction related to the service.

The foundation added a new category this year for digital media. The Corporal Jan Bender Award was created in tribute to the “generation of Marines who fought in the Global War on Terror in Afghanistan, Iraq and elsewhere around the world,” the foundation said in a Nov. 15 news release.

Bender, as a combat correspondent, captured some of the first digital coverage of the war, including scenes from Operation Al Fajr, the Second Battle of Fallujah, Iraq, in 2004.

Established in 1979, the Marine Corps Heritage Foundation is dedicated to preserving the Corps’ narrative of sacrifice and triumphs, according to its official website.

Retired Marine Maj. Gen. James Lukeman, the foundation’s president and CEO, said the awards recognize work that may otherwise go unnoticed.

“Someone who’s written poetry about the Marine Corps, you might never hear about them, but they’re able to submit their work and we recognize it, and it gets more well known,” he said in the release.

Cpl. Dalton Swanbeck took home the Sergeant Major Bradley Kasal Award in 2020. It recognizes a distinguished example of a single still photograph by an individual, in black and white or color, that captures the character of the individual Marine or the core values of the Marine Corps.

Swanbeck, during a 2019 deployment to Kuwait, photographed Marines firing mortars at night.

“I never expected to win an award for doing my job, but honestly it made me proud of what I was doing and getting recognized for it,” he recently told Stars and Stripes by email.

Another new category allows artists to submit work that might not fit into the other categories. Examples include digital art or multimedia art forms that tell the Marine Corps story.

“Having such an array of award categories that offer recognition and a real-time portrayal of the Marine Corps story is unparalleled,” longtime military reporter Hope Seck told Stars and Stripes during a recent phone interview.

Seck has won three awards through the program for her journalism.

In 2015 and 2017, she took home The Colonel Robert D. Heinl Jr. Award, which is given for the best article pertinent to Marine Corps history published in a newspaper, magazine, journal or other periodical during the preceding year.

Seck’s April 2014 story for the Marine Corps Times, “Left behind: Without security, without citizenship, interpreters are exposed to death squads,” earned her the honor in 2015.

In 2019, Seck won the Major Megan McClung Award for her reporting on Marines in Iraq and Afghanistan. The award is given for a distinguished example of reporting by an individual covering United States Marines abroad.

The submission window closes Jan. 15. Details and submission forms are accessible at the foundations’ official website at marineheritage.org.

Windswept I by Maria Marriott. A powerful bay wild stallion from the McCullough Peaks, WY, tangled mane blowing in the wind.

Windswept II by Maria Marriott. In the McCullough Peaks, WY, a wild stallion braves the relentless winds.

Wild horse photographer, Maria Marriott, photographing a herd of wild mustangs.

New work from photographer, Maria Marriott, shows the rugged beauty of American mustangs in their natural habitat. A call for preservation of the wild mustangs.

ROSEVILLE, CA, UNITED STATES, January 7, 2024 /EINPresswire.com/ — Wild horse photographer Maria Marriott recently announced the latest additions to her ongoing photography series, In Living Color. The two stunning images, titled Windswept I and Windswept II, showcase the majesty and strength of a rugged wild stallion from Northern Wyoming and were captured during a two-week trip in 2023 as she followed a herd of mustangs through the Wyoming desert.

Originally from Rio de Janeiro, Brazil, now living in California, Marriott has devoted her career to capturing the raw beauty and spirit of wild horses, always seeking to bring attention to the plight of the American mustangs and the efforts to preserve their presence on our Western lands.

Her latest works further exemplify this dedication to her craft. Each image in the In Living Color series is meticulously composed in Marriott’s unique minimalistic and intimate style, which allows viewers to vicariously experience the awe-inspiring presence of these magnificent creatures.

“From the moment I first saw a wild horse in Nevada”, she says, “I knew that there was a powerful story that needed to be told. A story about preserving an important part of our American heritage; some might even say, a part of the American identity. I felt that my best contribution to the story would be through photographic art, which can be a powerful tool in bringing awareness to the importance of keeping the horses roaming free on our public lands.”

Windswept I features a powerful bay stallion, his tangled mane blowing in the wind, his muscled body covered in mud and the scars of prior battles. High atop a butte in the breathtaking McCullough Peaks of Northern Wyoming, where the winds are nearly constant, the muted light adds depth and intensity, capturing the untamed essence of the wild horses.

Windswept II presents the same stallion, back to the wind, the image equally stark and evocative. As the harsh wind grasps his striking black mane, the stallion exudes an air of strength and resilience. The image beautifully captures the motion of the unyielding desert winds, the rugged beauty of such a powerful creature, and the inhospitable environment in which the wild horses survive.

“If I’m able to play even a small part in bringing attention to the pressing need of sustainable solutions for the wild horses on public lands, I will take it”, Marriott says. “It is impossible to see mustangs in the wild without feeling a sense of awe, without engaging the imagination. I hope my art stimulates the same awe and wonder that I experience following them in the wilderness. And that it stimulates deeper discussions about their preservation.”

Marriott’s wild horse photography series have garnered widespread attention for their ability to transport viewers into the heart of the untamed American wilderness. Her artwork has previously won recognition in several international photography contests, including IPA – International Photography Awards, Prix De La Photography Paris and the Tokyo International Foto Awards.

Her work has also been showcased in various publications, including Cowboys & Indians, Calling All Horse Girls, 65 Degrees Carmel By The Sea, and several other equestrian magazines in the U.S. and Australia.

To learn more about Maria Marriott and her wild horse photography series, visit the website shown in the Contact Details below. The limited-edition prints of Windswept I and Windswept II are now available for purchase directly through her online gallery and will be exhibited in various venues throughout the year.

About Maria Marriott

Maria Marriott is an award-winning horse photographer known for several wild horse photography series. Her work following and photographing wild mustangs across the Western states has allowed her a platform to bring attention to the pressing issues faced by the American wild horses. She works with several nonprofit organizations committed to the preservation and safety of mustangs and equine therapy.

Maria Marriott
Maria Marriott Photography
+1 916-606-0349
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Anash.org photographer Dovber Hechtman traveled to the south of Eretz Yisroel to document scenes from the devastation wrought by the accursed Hamas terrorists on Simchas Torah, and the ongoing efforts of the shluchim who continue to work, undeterred. 

Anash.org photographer Dovber Hechtman traveled to the south of Eretz Yisroel to document scenes from the devastation wrought by the accursed Hamas terrorists on Simchas Torah, and the ongoing efforts of the shluchim who continue to work, undeterred. 

He photographed the area where hundreds of burned cars were brought to. The cars, which had belonged to murdered participants of music festival, paint a painful picture of the death and destruction which took place on that day.

He also captured a scene of resilience and perseverance: The home of Sderot shliach Rabbi Chananel Pizam, which suffered heavy damage from a direct by a Hamas rocket. Yet, despite it all, Rabbi Pizam and the other shluchim continue their activities in the city, encouraging and assisting the remaining residents and IDF soldiers entering or leaving Gaza.