Life on a deadly border, photos from Texas and Mexico
Photographer Eric Thayer traveled to Brooks County, Texas and Reynosa, Mexico to investigate the rising rates of immigrant deaths along the border there, spending time at a migrant’s hostel in Mexico and with U.S. Border Patrol in Brooks County.
The unidentified graves of people whose remains were found in the desert are seen in Falfurrias, Texas April 1, 2013. Brooks County has become an epicentre for illegal immigrant deaths in Texas. In 2012, sheriff’s deputies found 129 bodies there, six times the number recorded in 2010. Most of those who died succumbed to the punishing heat and rough terrain that comprise the ranch lands of south Texas. Many migrants spend a few days in a “stash house”, such as the Casa del Migrante, in Reynosa, Mexico, and many are ignorant of the treacherous journey ahead. Picture taken April 1, 2013. REUTERS/Eric Thayer
A U.S. Border Patrol agent walks past a rescue beacon near Falfurrias, Texas March 29, 2013. Brooks County has become an epicentre for illegal immigrant deaths in Texas. In 2012, sheriff’s deputies found 129 bodies there, six times the number recorded in 2010. Most of those who died succumbed to the punishing heat and rough terrain that comprise the ranch lands of south Texas. Many migrants spend a few days in a “stash house”, such as the Casa del Migrante, in Reynosa, Mexico, and many are ignorant of the treacherous journey ahead. Picture taken March 29, 2013. REUTERS/Eric Thayer
Andrea Gjestvang’s Photos of Norway’s Utoya Massacre Survivors - NYTimes.com
On a Friday afternoon in July 2011, Andrea Gjestvang was preparing to leave the offices of the Norwegian newspaper Verdens Gang, where she was working as a temporary photo editor, when an enormous explosion shook the building, blowing out windows.
It wasn’t immediately clear what had happened. As her colleagues screamed, Ms. Gjestvang fled down the fire escape and made her way to the site of the explosion. She wasn’t prepared for the sight of eight dead bodies.
She also wasn’t prepared to start taking photographs.
“It was absurd, because I was working as a picture editor and I didn’t have my cameras,” she said. “I found myself in the middle of what happened, and I was very scared and almost paralyzed.”
[La #vidéo_photo du Dimanche] Humans of New York – Parce que la #photo_de_rue, ça peut être aussi simple que ça…
Aujourd’hui c’est dimanche et dimanche c’est le jour de la vidéo photo qui cette semaine nous emmène à New York. Aujourd’hui nous allons découvrir une vidéo d’une sélection de photos du fameux site Humansofnewyork.com. Je crois avoir découvert le site Humans of New York sur le blog de l’une d’entre vous il y a quelques [...]
• Taslima Akhter | Activist & photographer
En faisant une recherche sur internet à partir de cette image on s’aperçoit qu’elle est en train de devenir une icône et il y a de quoi.
This photo taken by Bangladeshi photographer Taslima Akhter of the garment factory collapse in Dhaka on April 25 is what photojournalism is all about. In one image the photographer has captured the human toll of rapacious corporate greed seen in the last embrace of those who perished. These people were not cared for by their employers, they were simply workers, not someone’s daughter or son, mother or father, lover or friend. They were just cheap labour exploited by corporations and by their own government. Taslima said, “As a witness to this cruelty, I feel the urge to share this pain with everyone. That’s why I want this photo to be seen”.
Taslima Akhter se définit comme activiste et photographe
Sont blog :
The real life models on Behance
La photographe hongroise Flora Borsi recrée des portraits d’après des peintures :)
Nowadays almost every photographer use graphics software to complete the picture, like many painters used ‘original version’ in the past.
Some artists use pure imagination to paint their artworks, others may prefer to create art by using a real life model as reference for the anatomy.
Mars Science Laboratory : Raw Images
Toutes les photos de Curiosity sol par sol, des premières aux dernières.(Permalink)
Border lines , un reportage photo:
Les travaux regroupés sous le titre Border Lines ont été réalisés lors de séjours en Israël et dans les Territoires palestiniens. La mise en œuvre de ces images fait foncièrement appel aux technologies numériques ; basées sur un montage au format panorama, les images entretiennent avec la réalité un rapport utopique et descriptif.
Les scènes ont toutes été observées à partir d’une topographie précise, mais selon des temporalités différentes. Ainsi, dans le même lieu, les désaccords de temps se trouvent re-synchronisés par l’image et ses coutures laissées apparentes : la terre sainte devient un espace de rencontres possibles, de scènes imaginées tout en restant présente dans sa réalité topographique.
Retravaillées par calques successifs, les prises de vues fonctionnent comme un carnet de croquis et de notation visuelle. Le travail numérique n’est pas mobilisé pour produire une gamme d’effets mais pour requalifier le réel, il s’agit donc d’un usage profond du numérique qui conditionne un rapport au monde. Le monde dont Cordesse nous parle ici , en ces lieux si symbolique et généralement pris dans les stéréotypes médiatiques, est une grande scène où le quotidien rejoint les enjeux historiques des civilisations qui s’y côtoient.
L’artiste exerce ainsi, à partir des problématiques de traitement de l’image, une pratique qui se tient à mi chemin entre la réflexion sur la responsabilité des photographies et sur le potentiel imaginaire qu’elles déploient. Attestant, s’il en était encore besoin, que les arts du numérique sont sortis du temps de l’exploration candide de leur ressources expressives pour se muer en de véritables instruments d’innovation créatrice.
A year in the life of That Tree, a photo a day by Mark Hirsch
Using only his iPhone, photographer Mark Hirsch spent a year documenting an ancient Bur Oak Tree and posting a photo a day on Facebook.
There is a tree that stands alone among the cornfields- about 5 miles south of Platteville, Wisconsin in the southwest corner of the state. Photographer Mark Hirsch drove by it almost every day for 19 years and never once stopped to take a picture. Then one day, he did.
Day 209, October 18, 2012. An ear of corn missed by the combine lays in a harvested cornfield with That Tree looming on the horizon.
Hundreds, thousand, hidden in the abandoned industrial areas that surround the port of Patras; I stayed with them in the old disused train station in the centre of Corinth; I found them in the ‘urban holes’ that dot the landscape of an Athens wounded by the crisis. They are the kids I followed for this project, some of whom are very young. After desperate journeys, they arrive from the wars which have tormented their countries in recent years. But war, for them, was only the beginning of the tragedy. Those who come from the Middle East and Central Asia try to reach Europe, the land I am lucky enough to call home, through its eastern door, Greece. They then get stuck there, amidst increasingly harsh security checks and racism which tragically often degenerates into neo-Nazi violence. For many, there is the hope of being able to rebuild the sort of life which would be impossible in their country of origin. The young Afghans I met are mainly fleeing the forced militarization practiced by the Taliban in Afghanistan, subsequent to the war that affected the country in 2001. For many others who are fleeing a scorching North Africa in revolt, the hope is to have the rights they were denied by the radicalization of the violence in their country of origin, recognized. Persecution for religious and ethnic reasons, or due to political opinion, could allow them to obtain refugee status in European Union countries, but certainly not in Greece. There, the rules are so tight that more than 99.5% of requests for asylum are refused. For this reason, they are forced to hide, because having a Greek police record would mean the end of the dream of safe reception in Europe. I learned that this is set out by the Dublin Regulation, the EU law with responsibility for granting asylum. According to the regulation, the country where a person is first identified is the country that has the duty and right to decide whether to grant refugee status or not, irrespective of where the application for asylum is made. Attempts to harmonize regulations on asylum in Europe have been dramatically swept away by the economic crisis. The Mediterranean countries have been the most affected by the flows and at the same time, have the fewest economic resources to manage them. What’s more, the difficult social conditions in these countries are providing an outlet for the phenomena of cultural closure, xenophobia and violence, which represent, for those who arrive, an insurmountable obstacle to obtaining the enjoyment of even the most basic human rights.
A fragile state
The withdrawal of a huge palm oil contract by a major european cosmetics manufacturer in 2010 opened my eyes to the land issues in Colombia. The company had pulled out as a response to the blunt way in which the land in central Colombia had been cleared to make way for the colombian provider’s palm oil plantations.
The wave of rural violence that tore through the country in the late 90s drove large numbers of people from their land and forced them to relocate to other municipalities or to the ever growing outskirts of Colombia’s larger cities. The freshly available land was often taken over by local and international companies to be used for mineral extraction, large scale farming or extensive cattle ranching.
In addition, peasants and people of native or Afro-Colombian descent have often been trapped between the fighting groups of the Colombian conflict. Several hundred thousand people have lost their lives since the beginning of the armed conflict fifty years ago and 4–6 million people are currently refugees in their own country, forcibly displaced from their homes due to horrific acts and threats of violence. Only Sudan has more internally displaced people.
When the peace talks between the government and the largest leftist rebel group begun in October 2012 the land issue was at the top of the list. Colombia is among the most unequal countries in the world. Here 52 percent of the land is owned by 1.15 of the landowners. 29 percent of the population gets by on less than two dollars a day while a lucky few can afford to indulge Bogotá’s sprawling nightlife and fancy restaurants.
A law instituted in june 2011 is supposed to help people reclaim their stolen property. Cynics might say that the law merely is there to make land takeovers legit, giving investors confidence and security. The perpetrators are in many cases still in control of the land and even though the people can get a paper stating their ownership they do not dare to return and rather sell the property. As the government started handing out owners certificates in the beginning of 2012 many people, landowners and entire villages in other parts of the country are still under pressure to move in order to make way for more industrial investments.
In the midst of the violence and insecurity there is life and the vision of a better future never feels distant among the 46 million living in the middle of one of the the world’s longest ongoing civil wars.
Goodbye My Chechnya
Goodbye My Chechnya documents the lives of young Muslim girls growing up in a republic that’s struggling to rebuild itself after nearly two decades of war.
For young girls in Chechnya the most innocent acts could mean breaking the rules. A couple holding hands in public is punishable; the sight of a Chechen girl smoking may lead to her arrest, while rumors of girls having sex before marriage can result in her killing.
The few girls who dare to rebel – whether by religion, music taste, style of dress or aspiration become targets in the eyes of authorities. These girls tell a forbidden tale of a different kind of Chechnya - one that is behind closed doors.
After nearly two decades of war and 70 years of Soviet rule, during which religious participation was banned, Chechnya is going through Islamic revival.
The Chechen government has embarked on an aggressive campaign to promote Islam and to strengthen Chechen traditions. Dozens of mosques and Islamic institutions are sprouting throughout the republic, prayer rooms in public schools and a strict Islamic dress code is enforced. Females have reported being harassed, some physically harmed for not wearing a head covering.
In today’s Chechnya, where alcohol is all but banned, polygamy encouraged and single-sex salons and gyms becoming the norm, Chechen girls have very few rights.
With these set of images I hope to reveal a more intimate perspective on the personal lives and choices of young girls who are grappling with questions of identity as they come of age in a republic that is rapidly redefining itself as a Muslim state.
Brotherhood of Bears
As a teenager I never felt as though I belonged anywhere in the gay community—that is, until I discovered the Bear subculture, whose members represent a mature and masculine homosexual embodiment. This work investigates and represents this intimate and often unseen subculture and confirms my inclusion within this group of men. The Bear brotherhood is a strong bond of gay men who cast aside traditional gender conventions, challenge heteronormative society, and question hegemonic masculinity.
For over a decade I have been an insider within the Bear subculture, yet I simultaneously view myself as an outsider because I am not the physical embodiment of a Bear man. My role as photographer embodies this ambivalent stance, as my interest in documenting Bears necessitates both access and detachment from this community. Brotherhood of Bears is an affirmation of my inclusion in the Bear subculture substantiated by my interpreting, analyzing, and understanding these men and their sexual identities, which are much like my own.
A man has been singing songs at the top of his lungs for the last two days, while another, hunched on his bed, wails from under a blanket. In a cell across the hall, a man shakes as he yells to his wife he has not seen in five years and to the thug down the street. In reaction to the noise, another man bangs endlessly on his cell door until an officer comes by and asks him to stop. He smiles and says he just wanted someone to talk to.
“We (prisons) are the surrogate mental hospitals now,” says Larry Chandler, warden at the Kentucky State Reformatory.
With the rising number of mentally ill, this Kentucky reformatory was forced to restructure a system that was designed for security. Never intended as a mental health facility, treatment has quickly become one of their primary goals. Unfortunately, this situation is not unique to Kentucky. The continuous withdrawal of mental health funding has turned jails and prisons across the U.S. into the default mental health facilities.
Since the 1960s, there has been a shift from housing the mentally ill in hospitals to locking them in prison. The prison system designed for security is now trapped with treating mental illness and the mentally ill are often trapped inside the system with nowhere else to go. A report by the U.S. Department of Justice shows that the number of Americans with a mental illness incarcerated in the nation’s prisons and jails is disproportionately high.Almost 555,000 people with mental illness are incarcerated while fewer than 55,000 are being treated in designated mental health hospitals.
What started out as a 13-bed special unit has grown to a 150-bed treatment unit for the state’s most severely mentally ill inmates. Staffed by licensed mental health professionals, the unit provides crisis intervention, stabilization and individual counseling. Despite their attempts to meet the needs of these inmates, many including Kevin Pangburn, mental health director for the Kentucky Department of Corrections, believe these men are “trapped with nowhere else to go”.
This project portrays the daily struggle inside the walls of the unit redesigned to treat mental illness and maintain the level of security required in a prison. The photos take viewers into an institution where the criminally insane are sometimes locked up in their cells for 23 hours a day with nothing to occupy their minds but their own demons.
In light of recent horrific events including the one at Sandy Hook, I hope to continue this project about mental illness. I plan to photograph in city jails and the few mental health facilities that exist in the US including one in St. Paul, MN. While a dialogue about mental illness and gun control continue to pepper the media, I would like for this project to be a thoughtful documentation about the connection between the prison system and people with mental illness. There needs to be a shift in the way our society sees mental illness and I am hoping this project starts a dialog about the impacts of imprisoning the mentally ill.
A woman’s war
A WOMAN’S WAR documents the lives of women engaged in recent documents the lives of women engaged in recent conflicts worldwide, as well as their struggle for justice, rights, and their identity as female fighters.
Over the past three years I have documented the stories of 116 women in five countries: revolutionaries of Egypt’s recent uprising, women on all sides of the 1992-1995 Bosnian War, members of the North Vietnamese Army, Protestant and Catholic women of The Troubles in Northern Ireland, and freedom fighters of the 1971 Bangladesh Liberation War. I am now seeking the support of the The FotoVisura Grant to continue this work in the United States, documenting the lives of American women who served in the wars in Afghanistan and Iraq.
To conquer her land
As a photographer my work currently focuses on projects in my own country that explores the role of marginalized rural women in India in armed conflict and in spaces that are mostly male dominated and their struggles and triumphs within them.
The border between India and Pakistan is like its own world. Since partition this border has seen war, smuggling - people, arms, drugs, firing, jingoistic parades, killing, suicide bombing, fireworks, lonely tears and little moments of glory.
In September 2009, India’s first women soldiers were deployed at the India-Pakistan border from Punjab to near the first line of control in Kashmir. I followed these women, from different parts of the country, castes, and backgrounds, cutting across gender and religion during their last days at home to the barracks, through training camp to active duty.
Stationed on a critical border, they try to come to terms with their new responsibilities while patrolling barren lands. This transformation is intense; it is impossible to recreate or restore what they’ve left behind. Theirs is a country so vast that all lines seem to disappear, yet contains a deathly silence so white, haunting, and exact that it can create peace even in a land on the brink of war.
More women in India are in the armed forces than ever before. Yet most of them are painfully alone. Military culture, which can be intimidating, has not been particularly tailor-made for women. The Indian woman in the forces is not only battling against the enemy, but also against a largely patriarchal society. Most of the women I photographed joined the forces to fight their present state of affairs as well as to find an escape from their dire rural livelihood. For these women, putting on a uniform was like coming out of their own skin. They saw it as a way of gaining some form of independence.
In “To Conquer Her Land,” over the last 3 years I am trying to humanize these complex yet intricate issues of poverty, conflict, psychological warfare, caste, youth, gender, love, peace, the concept of home, an undefined idea of patriotism, strength of mind, and a level of stress previously unknown to them. Finally to be able to create an unflinching account of how these women come face to face with the truth of conflict and the realities of living the life of a young good soldier.
How many times can a person face death in their lives? Sense it. Feel it. Smell it. Maybe one? Two? Four? The people captured in Living Periferia live with it every day of their lives. The violence, the drugs, the weapons, the lost bullets which take dozens of lives every year... The fights, the battles with the police. Some barely escape. Others fall in the street law and to save them from oblivion their friends and family draw enormous pictures of them in the walls of the shantytown. It’s a posthumous tribute to their courage, their way to remember them as local heroes.
This work dives in a forgotten world, where many times not even mail mans are alowed in. It’s a world wich goes beyond poverty. Wide ghettos in the further corners of Santiago where the State has managed for years to dump what they would rather not see. What investments must never see. What rich people should better keep ignoring.
Chile is now one of the richest countries un South America. The government celebrates the 4,4% economical growth in the last year and everyone claps when they say the international crisis hasn’t reached yet. But no one looks at this face of Chile when they receive the applauses. Derelict that generates more derelict. Violence that generates more violence. The toughest and more efficient school of crime. A society inside the society which their own codes and mechanics that result inconceivable for the rest of the world. The order inside the chaos where only the one who yells louder; the one who hits harder or the one who shoots faster can emerge. Or survive.
This photos are a personal puzzle about fragmented social representations. The foreign eyes of someone that, of alla the gpoing round, ended up been a local. But which look reflects the beauty of an ugly and shocking world to the eyes of whom look from across the street.
When I was a kid i use to live in those places, at the outskirts, but now it’s completely different, more guns, more violence,more poverty.At first i was interested to come back here,to see with my own eyes, how my childhood neighborhood and friendas has change, to be with them and to listen their stories.
Global corporations and the Bangladesh building collapse - World Socialist Web Site
Global corporations and the Bangladesh building collapse
8 May 2013
Two weeks after the Rana Plaza building collapse, global retail giants that source their garments in Bangladesh such as Walmart, Primark, Benetton and others are engaged in a cynical public relations exercise to distance themselves from the tragedy and preserve their image and their profits.
The WSWS needs your support!
As of yesterday, the official death toll had reached 705, with hundreds more injured, making the collapse the worst industrial disaster in country’s history and one of the worst ever in the world. Rana Plaza is typical of the thousands of shoddily built, unsafe sweatshops in Bangladesh employing workers at $38 a month to churn out orders for some of the world’s largest corporations.
Vidéo postée sur FB par la Déclaration Berne sur la situation au Bangladesh :
A Final Embrace: The Most Haunting Photograph from Bangladesh
Médiathèque de l’architecture et du patrimoine
Le fonds de l’atelier Nadar (portraits d’artistes, d’écrivains et d’hommes politiques des XIXe et XXe siècles) a été acquis par l’État en 1950. Les négatifs ont été attribués aux Archives photographiques et les épreuves dites commerciales à la Bibliothèque nationale de France.
Dans la base Mémoire, sont visibles les célébrités photographiées par Félix et Paul Nadar et quelques grands reportages comme Le Voyage de Paul Nadar au Turkestan russe (reportage réalisé avec une pellicule Eastman Kodak).
Le fonds dit des « anonymes » est en cours de traitement et le contenu des livres de commandes de l’atelier, correspondant à environ 150 000 plaques de verre est en cours d’informatisation.
L’inventaire de « l’Atelier de Biarritz » est informatisé.
#photographie... dommage, les clichés sont un peu petits !
Les images et ce qui n’est pas arrivé – The New Inquiry
Pour Nathan Jurgenson, la tension entre l’expérience que nous avons et celle qui se déroule via Facebook atteint un point de rupture. Et ce point de rupture, c’est SnapChat, l’application de #photographie éphémère. Sur SnapChat les images sont éphémères et en refusant la prise en charge permanente de l’image, Snapchat propose un changement radical, celle de la photographie temporaire. Les médias sociaux ont conduit la tension entre l’expérience pour soi et l’expérience à des fins de documentation à (...)
La perspective d’un piéton... En Norvégien, mais je crois que vous pouvez comprendre
Très intéressant et original
Et fotgjengerperspektiv | ronrostad
Jeg bestemte meg for å gå til Jekta fra Sentrum, via Workinnmarka. Så snart jeg var ute fra Workinnmarka, møtte jeg denne pussigheten. Fortauet skifter side. Det finnes ikke gangfelt her, slik at jeg må smette frem og tilbake over veien og håpe på bilistenes hyggelighet.
[La #vidéo_photo du Dimanche] #henri_cartier_bresson et sa vision de la photographie (2ème partie)
Aujourd’hui, suite de la Vidéo Photo présentée dimanche dernier : Henri Cartier Bresson et son idée de la Photographie : 9 minutes de bonheur en images. Pour rappel, il s’agit d’un documentaire où les présentateurs envoient Henri Cartier Bresson en reportage au Marché de Clignancourt et au Marché Saint Pierre pour prendre des photos (un [...]
L’artialisation du paysage urbain : Hong Kong et ses gratte-ciels http://sco.lt/7xCGWH
En tournant son appareil vers le ciel, le photographe et artiste français Romain Jacquet-Lagrèze a capturé des perspectives qui donnent le vertige, soulignant d’autant plus le motif géométrique des plus beaux gratte-ciels de la ville et qu’il décrit comme une « course vers le ciel » dans sa collection de photos « Vertical Horizon ».
« C’est facile de prendre la mesure d’un immeuble de loin, mais on ne peut vraiment apprécier sa structure immense tant qu’on ne tend pas le cou le long de sa colonne vertébrale, pour admirer la façon dont ses bords ont l’air d’égratigner le ciel » dit le photographe. "Le projet est une immersion dans l’atmosphère étouffante de la ville et un enregistrement visuel de ses constructions sauvages. Le livre est comme un plongeon contemplatif dans la nature brute de Hong Kong et une expression de son élan vertical