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PhotoVelo in the Dallas Observer
Sunday, October 16, at Eno’s Pizza Tavern
If you ever had to compete in a scavenger hunt as a kid, you’ll probably remember it wasn’t very difficult. The clues were easy, the objects in plain sight and it was really only a race of speed, which made the scavenging part so unnecessary. Flash forward to now and the grown-up version of that competition really isn’t child’s play. You need mental strength and a strategy to win adult scavenger hunts, and for PhotoVelo you also need a bike. Bike Friendly Oak Cliff is hosting their third annual bicycle photo scavenger hunt in which individuals and teams of two to four cyclists are given a list of items to photograph around Oak Cliff. All you need are your bike, map, a Sharpie and your camera. Oh, plus you need a place to print or develop your pictures, and we can tell you with certitude that Walgreens needs to take down that one-hour photo sign. So if you live in dark ages, have the darkroom ready to go when the race begins at 12:30 p.m. Sunday at Eno’s Pizza Tavern. You can register for free by emailing info@photopolus.com or showing up in person before noon on Sunday, and stay after the race ends at 4 p.m. for live music and an early dinner at Eno’s. The winner of PhotoVelo gets a free meal at Eno’s (up to $75), and second place snags tickets to the DMA. Hey, if you don’t win you got a free workout, so really everyone’s a winner.

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Just a quick reminder that 214Trans4m by Daniel Kusner and Bryan Amann opens TONIGHT at the Magnolia Gallery from 8pm-11pm. We hope to see you there! -Scott & Nicole

The Magnolia Gallery presents
214 TRANS4M
FOTOS BY: DANIEL KUSNER + BRYAN AMANN

When transgender models strike poses beside landmarks in Texas’ most conservative metroplex, the results can be exquisitely photogenic yet ideologically conflicting. But the creative team of Daniel Kusner and Brian Amann hasn’t shied away from the challenge. “214 Trans4m,” is a collaborative a photo series that aims to capture Dallas’ history, architecture and stereotypes, all while straddling the invisible divide that separates the feminine and masculine. Kusner and Amann construct each image as if they’re producing a small movie. Each project involves casting characters, choosing wardrobe, scouting locations, styling and building props.

Some regard Dallas (now that George and Laura Bush are our neighbors) as the Lone Star State’s cradle for reactionaries and traditionalists. Where men are men, and women are women. But Big D is too big to surrender to such narrow definitions. Like places of interest for the average visiting tourist, “214 Trans4m” invites Dallasites to look at their own city — but in a different light.

Some images from the Kusner+Amann portfolio include:
• “Dallas in Wonderland” featuring local drag artist Jenna Skyy becomes Lewis Carroll’s “Alice,” kneeling beside the painted X on Elm Street and pointing toward the Texas Schoolbook Depository. True to her character, “Alice” incorporates mathematics to gauge the magic bullet’s path on the spot where a commander-in-chief’s head was ripped apart by a sniper.
• “Breakfast at Neiman’s” features doe-eyed goddess Chaselyn Wade becomes a modern version of “Holly Golightly,” a down-at-heel party gal who can taste an unsullied life while gazing into a downtown window display of Dallas’ poshest retailer.
• “Callas in Dallas,” features trans showgirl Erica Andrews emulating Maria Callas reenacting the day that the New York Metropolitan Opera fired, who then gave the performance of a lifetime as Medea at the State Fair Music Hall.

The title of this photo is “Memora-Beale-ia,” featuring local drag performer Richard D. Curtin who morphs into a daffy Edith Bouvier Beale dancing before the Kennedy Memorial to inspire our admiration for a forsaken structure whose design was approved by Edith’s famously tasteful cousin.

ABOUT THE ARTISTS:
Daniel Kusner is a former editor of Dallas Voice and publisher of Spread magazine. He blogs at SnipersLoveNest.com. His fascination with drag artistry began when the KISS Army recruited him at the age of seven.
Bryan Amann’s photos have appeared in Elle Décor: Germany, Out Traveler and Dallas Voice. His work has been exhibited at Dallas City Hall, Baylor’ Chas. A Sammons Cancer Center, The African American Museum in Fair Park, The Trinity River Audubon Center. Amann’s photos can be seen at BryanAmann.com

WHO: Daniel Kusner and Bryan Amann
WHAT: “214 Trans4m”
WHERE: Magnolia Gallery, inside the Magnolia Theatre: 3699 McKinney Ave. Dallas. Texas.
WHEN: Sept. 8, 2011 to Oct. 12, 2011
PHONE: 214-683-9134
CURATORS: Nicole Cullum Horn and Scott Horn
WEB: magnoliagallerydallas.com
CREDIT: DANIEL KUSNER AND BRYAN AMANN.

Magnolia Gallery
inside the Magnolia Theatre
3699 McKinney Ave.
curated by Nicole Cullum Horn & Scott Horn
214-683-9134
magnoliagallery@gmail.com
magnoliagallerydallas.com

Nous avons eu un bon temps merveilleux à la bastille sur l’évêque et voici les photos pour la prouver!
*(We certainly had a wonderful good time at Bastille on Bishop and here are the pictures to prove it!)
Thank you for stopping by to see us!
Love & Photographs,
The A Team

French Mimes










*to download your FREE photo file, visit www.angefitzgerald.com, select “Shop&Blog” then “Artists&Events” to find the BASTILLE 2011 gallery. Click on any thumbnail to view image large and there is a “download original” link in the lower right which allows you to save the picture to your computer.

I was recently contacted by a fella named Arnoldo Hurtado Escobar about shooting a commissioned concept for him. Arnoldo is a a painter who recently graduated from UNT and who will soon be moving to Cambodia for two years to learn more about life and serving others. He wanted to shoot a take on “one of the most intriguing biblical mythologies” – the story of Adam and Eve as found in the bible.

After talking it over we decided to approach it together. One of the points within that really interested us was the idea that a creator would turn its back on its creations for proving themselves to be faulty, broken and human… just as it had created them to be. It seems like a lot of people’s fear and/or doubt of God and even the existence of God are an unfortunate byproduct of such teachings. The other point of interest was the entrance of “evil” as something that came from outside of us, a spiritual principality and even boogeyman that we should all watch out for because it may incite us to do wrong.

We both felt that most of our problems in life were of our own making and came from within ourselves. The idea of personal responsibility. Having said that, we didn’t have any desire to refute anyone’s beliefs or minimize a story or book that contains beautiful teachings and does so much for so many. Just wanted to kick the ideas around.

When all was said and done, we ended up with something more portrait than concept and found the idea difficult to translate properly, but the ideas were still implied. I posted one of them on Facebook and unfortunately it was reported and deleted within a few hours. I was pretty disappointed because I felt both the image and the accompanying words were tasteful, unoffensive and couldn’t be classified as containing nudity. I was given a seven day photo uploading restriction which is pretty inconvenient because I use Facebook in conjunction with my website and blog to share all I shoot with the masses.

I am at least thankful I could share this here though and I hope you all enjoy it. Be well and happy shooting, my friends.

Dylan Hollingsworth
July 12, 2011

Arnoldo Hurtado Escobar and Vanessa Ruiz ©DylanHollingsworth

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Lenscratch is creating exposure opportunities for photographers with group on-line exhibitions. Photographers will be allowed ONE entry per exhibition and ALL photographs will be published.

Submission Guidelines:
Image size: 72dpi at 1000px on the long side
Send name, title, location, and link to your work (website or other)
In the subject of your e-mail, type the name of the exhibition (FAMILY, etc) and e-mail to:
alinesmithson@yahoo.com
If your images are sized incorrectly or the submission is incomplete, they will not be posted.

Submission Categories and Due Dates:

Due Date: March 12th
Send one image that best represents LUCK. Post will run on St. Patrick’s Day

Due Date: April 25th
Send your favorite SELF PORTRAIT. Post will run on May 1st

Due Date: July 1st
Send your favorite image of SUMMER. Post will run on July 4th

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Support this project on KickStarter
by Bruce Gilden
About this project

Since the housing market crashed in 2008, millions of Americans caught up in the subprime mortgage crisis have lost their homes. This is not a secret in the communities that live with foreclosures. The devastation is shielded from the eyes of other sectors of society, however, including many of those that caused it.

For over two years, I have been documenting foreclosures in some of America’s hardest hit communities: Fort Myers, FL; Detroit, MI; and most recently, with support from the Magnum Foundation Emergency Fund, Fresno, CA. In addition to photographing, I interview Americans who have been evicted from their homes, or who are facing eviction, and who have been launched into a devastating cycle of suffering: family life becomes unstable; children are at risk; violence increases; and communities disintegrate.

Going to Nevada next is key to my project. The place was a mortgage casino, with developments popping up like mirages. Now they have the highest unemployment rate in the country and are caught in an impossible foreclosure spiral. I want to spend three weeks there, photographing and interviewing people touched by foreclosures, similar to what I’ve done in Florida, Michigan, and California. I am absolutely dedicated to tracking this story across the country and making sure people can’t escape what foreclosures actually look like. We can’t let this be swept under the rug or reduced to statistics. Only by showing the human cost is there any hope for systemic change.

You can see my earlier work on foreclosures here and on the Emergency Fund website. I will make this work available to advocacy groups working on the housing crisis.

The funds I’m asking for will cover my travel costs in Nevada for about three weeks, film, and a sound tech for interviews. Every extra dollar will go to extending the project to additional neighborhoods and communities. I’ll keep working on this story as long as I can stay on the road.

The stories of the lives of Americans caught in the great recession need to be told—and I need your support to tell them.

-Bruce Gilden

The Magnum Foundation is a 501(c)(3) organization, and supporters who elect not to receive a gift may take a tax deduction to the extent permitted by law.

Project location: Las Vegas, NV


“Twins” 1988 ©Toni Parks.
By SUSAN HODARA for the NYT
Published: January 28, 2011
NEW ROCHELLE, N.Y.
IN Gordon Parks’s 1942 photograph “American Gothic — Washington, D.C.,” a grim-faced cleaning woman in a well-worn polka-dot dress stands against the backdrop of an American flag. With a broom in one hand and a mop beside her, she stares directly at the camera.

In “Twins,” shot 46 years later by Mr. Parks’s daughter, Toni Parks, two equally unsmiling young girls wear frilly headdresses and festive tops. They, too, gaze straight into the lens.

These images and more are currently on view in “Bridging the Gap: Photography by Gordon Parks and Toni Parks,” at the Castle Gallery at the College of New Rochelle. Curated by Katrina Rhein, the gallery’s director, the show is the first two-person exhibition featuring the father-daughter pair. It presents nearly 70 pieces from the college’s collection, including photographs spanning seven decades and an assortment of books and videos by and about the artists.

The relationship between the Parkses and the College of New Rochelle dates back 20 years. In 1991, in recognition of Mr. Parks’s work, the school opened the Gordon A. Parks Gallery and Cultural Arts Center on its campus in the South Bronx; in 1992, it granted Mr. Parks an honorary degree. At the time, Ms. Parks was working at the college as both a counselor for adults returning to school and a photographer during graduations. She has since curated exhibitions at the Gordon A. Parks Gallery, and shown her work there on several occasions, most recently in a solo exhibition in 2009.

But exhibiting at the Castle Gallery, as well as showing her work alongside her father’s, remained unfulfilled goals until now. “This is a dream come true,” Ms. Parks said at the show’s opening in December.

Given the photographers’ familial relationship, gallery visitors might find themselves focusing on the parallels among the works rather than appreciating the individual images. But, Ms. Rhein said, “Each piece in this exhibition stands on its own. I believe there are as many dissimilarities as there are similarities.”

“Gordon was a mentor to Toni, schooling her on life and the arts, ” she said, but they had “different processes for seeking out subjects and creating works.”

Mr. Parks’s many accomplishments include directing the film adaptation of his autobiographical novel, “The Learning Tree,” in 1969, and the blaxploitation film “Shaft” in 1971; writing memoirs, novels and books of poetry; performing as a jazz pianist; and composing orchestral scores. But he was most prolific as a photographer. He was the first African-American to work for Vogue and Life magazines, with subjects ranging from well-known actors and entertainers to victims of abject poverty in the United States and abroad.

Both ends of this spectrum are represented here in 10 black-and-white photographs, which Mr. Parks donated to the college in 1991. Among them are highlights from his 20-year stint at Life, including “Red Jackson, Harlem,” part of his first assignment for the magazine, a photo essay shot in 1948 about the Midtowners gang; and “Bessie Fontenelle and Children at Welfare Office,” part of another photo essay, this one from 1968, taken during a monthlong stay in the Fontenelle family’s Harlem tenement. Then there’s Muhammad Ali after his fight with Henry Cooper in 1966, his face glistening with beads of sweat, the intensity of his glare palpable.

The exhibition’s title, proposed by Ms. Parks, conveys multiple meanings. One suggests the gap that Mr. Parks, who died in 2006, referred to in his 2005 memoir, “A Hungry Heart,” between the primarily white audiences of his magazine photos and the residents of the ghettos where he often shot. Another reference recognizes Mr. Parks’s middle name, Alexander, making his initials, G.A.P. Finally, the exhibit bridges the work of Mr. Parks, who discovered his photographic calling early in life, and Ms. Parks, who said she did not pick up a camera until she was in her 40s.

Given her father’s accomplishments and reputation, Ms. Parks’s avoidance of the field was understandable. “Of course he was intimidating!” she said. “That’s why it took me so long.”

A tall, slender woman with silver hair that falls past her shoulders, Ms. Parks, 70, was raised in White Plains, where she studied piano and musical composition; she currently lives in England. As soon as she started shooting, she said, she knew she had found her passion. She recalled presenting an early contact sheet to her father and telling him, “I don’t care what you say — this is me!”

The “me” that is on display in “Bridging the Gap” includes a dozen color shots of a dress rehearsal of “Martin: A Tribute to Martin Luther King Jr.,” the five-movement ballet re-enacting Dr. King’s life that Mr. Parks wrote, scored and helped to choreograph, and that he later directed and narrated as a film. “It was my first professional assignment,” Ms. Parks said. “Martin” aired in 1990 on PBS on what would have been Dr. King’s birthday.

The exhibition also contains images taken by Ms. Parks in Manhattan between 1986 and 1993: black-and-white portraits and street scenes, and several Cibachrome prints, including an urban sunset and moonrise. “In New York, there are so many types of people and so many things happening within one block,” said Ms. Parks, who is a member of Kamoinge, a collective of African-American photographers founded in 1963 and based in New York. “Whatever I see that delights me, I take the photograph.”

“Bridging the Gap: Photography by Gordon Parks and Toni Parks” runs through Feb. 20 at the Castle Gallery at the College of New Rochelle, 29 Castle Place, New Rochelle. Six of Mr. Parks’s feature films will be screened in the gallery on Tuesdays and Wednesdays, 6 to 8 p.m., Feb. 1, 2, 8, 9, 15 and 16. For a schedule of films, gallery hours and more information: cnr.edu/cg or (914) 654-5423.

A new book called Ruins of Detroit displays Detroit’s downtown landmarks in decay: Abandoned hotels, houses and schools line the streets as a reminder of the city’s economic downfall over the past century. The devastation takes on an eery beauty, as captured by Yves Marchand and Romain Meffre. Click here for full slideshow and article.

Huffington Post | Nicole Hardesty First Posted: 01-26-11 02:19 PM | Updated: 01-26-11 02:26 PM

I adore and am inspired by Gareth‘s work and was really happy when he shared with me recently news regarding the launch of his new blog, humansandthoughts.
check it out with warm regards from wales & GP.


@GarethPhillips

we did this and highly recommend you do it too – was super awesome and so fun making ambro & tintypes w/ our pal Frank.
reserve your spot today – space is limited!

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