Photographers

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Caleb Cole: Other People’s Clothes

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At the heart of my work is a fascination with ambiguities and inconsistencies, an interest in how I go about negotiating areas of gray and how others manage to do the same. When I am in public, I watch people going about their daily routines alone; I wonder about the lives they lead, wonder how they experience the world around them and how they make meaning of it. I spend time inventing stories for them: narratives of isolation, of questioning and searching, of desire, and of confusion. The images in Other People’s Clothes are a product of my exploration of private moments of expectation, a visual expression of my experiences stepping into the shoes of the types of people I see on a daily basis. Each photograph in the series is a constructed scene that begins with an outfit or piece of clothing (either bought, found, or borrowed), then a person that I imagine to fill those clothes, and finally a location where that person can play out a silent moment alone. This moment is the time right before something changes, the holding in of a breath and waiting, the preparing of oneself for what is to come. Though I am the physical subject of these images, they are not self-portraits. They are portraits of people I have never met but with whom I feel familiar, as well as documents of the process wherein I try on the transitional moments of others’ lives in order to better understand my own.
–Caleb Cole

 

Caleb Cole: Other People's Clothes

 

Follow this link to Caleb Cole’s website.

Born in Indianapolis (1981), Caleb Cole is a former alter server, scout, and 4-H Grand Champion in Gift Wrapping. His mother instilled in him a love of garage sales and thrift stores, where he developed a fascination with the junk that people leave behind. Cole is a 2009 Artadia Award winner and 2009 Photolucida Critical Mass finalist. He has exhibited at a variety of venues, including the Danforth Museum of Art, the Cushing-Martin Gallery at Stonehill College, the Artists Foundation, and the Photographic Resource Center.
Link to this page:  Caleb Cole: Other People’s Clothes
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Paola de Grenet

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Photographs by Paola de Grenet

Albino Beauty

“Albino Beauty” proposes to search for and a show the diversity of the world we live in. The portraits of albinos celebrate a different kind of beauty and eliminate the stigma sometimes associated with difference.

Albinism comes from the Latin word albus, meaning “white”. It is a hypopigmentary congenital disorder, characterized by a partial lack of melanin pigment in the eyes, skin and hair, and very rarely, in the eyes alone. The eyes, however, appear pink or red because the blood vessels in the iris and retina reflect light, whereas in normally coloured individuals they are hidden by pigment. Albino people have very defective vision and their eyes are extremely sensitive to light. The skin is very white and never tans, so that sunburn is much more serious than in ordinary blondes.

Albinism is hereditary; it is not an infectious disease and cannot be transmitted through, blood transfusions and contact for instance. The principal gene, which results in albinism, prevents the body from making the usual amounts of the pigment melanin. Most forms of albinism are the result of the biological inheritance of genetically recessive alleles (genes) passed from both parents of an individual, though some uncommon forms are inherited from only one parent.

However, because organisms can be carriers of genes for albinism without exhibiting any traits, two non-albinistic parents can produce albinistic offspring. Albinism generally occurs with the same frequency in both genders. An exception to this is optical albinism, because it is passed on to offspring through X-linked inheritance. Thus, males more frequently have ocular albinism as they do not have a second X chromosome.

There are two main categories of albinism in humans:

• In oculocutaneous albinism (despite its Latin-derived name meaning “eye-and-skin” albinism), pigment is lacking in the eyes, skin and hair. People with oculocutaneous albinism can have anywhere from no pigment at all to almost-normal levels.

• In ocular albinism, only the eyes lack pigment. People who have ocular albinism have generally normal skin and hair colour, and many even have a normal eye appearance.

As mentioned before, in physical terms, albinos usually have vision problems and need sun protection. Nevertheless, they also have to face, very often, social and cultural challenges because of their ‘special’ human condition that frequently cause them a source of ridicule, discrimination, or even fear and violence. Cultures around the world have developed many beliefs concerning people with albinism. This folklore ranges from harmless myth to dangerous superstitions that cost human lives. Furthermore, brutal discrimination almost always happens in less developed countries where the general scientific knowledge of such occurrences are not widespread and superstition takes hold. It is also more frequent in countries where the skin colour varies from people with albinism the most likely because they are more easily differentiated from the general population. Portrayals of people with albinism in literature and films have historically rarely been positive. This fact is sometimes referred to as the “evil albino” stereotype, or albino bias from other people, although one must recognize them as normal human being with physical problems as other have differently perhaps.
These pictures have been taken mainly in Argentina, Spain, United Kingdom.

Paola de Grenet

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After finishing her studies in Graphic Design (London, Camberwell College of Arts) Paola de Grenet started working as a photographer in 1999. Currently she lives and works in Barcelona. Her works has been published in England (The Guardian, The Sunday Times, publishers Hodder & Stoughton, Penguin, MacMillan), Spain (Ojo de Pez, El Magazine-La Vanguardia, Woman, Elle) and U.S.A. (Virginia Quarterly Review). She won the prestigious grant FotoPres (La Caixa, Barcelona) and the competition LICC (London) amongst others. Her works focuses mainly on portraiture and reportage. Since 2008 Paola has been a member of Posse.
Link to this page:  Paola de Grenet
Comments
  1. hello it’s photographer strong with compositions paola de grenet..

    i’m to photographer music and reportages

    good visit in my link
    http://photographike.ovh.org/spip.php?article60

    hasta luegos..

    kats bartok

    bartok — December 21, 2009

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N. Jaisingh/Trikaya Photos

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Dressed as Gods
Photographs by N. Jaisingh/Trikaya Photos

The tiny non-descript South Indian village of Kulasekarapattinam wakes up to the world of colour and noise during the ten-day Dasara festival. More than a million people converge in this coastal temple-town to celebrate the triumph of good over evil.

Legend has it that the divine female cosmic energy Shakti took on the form of the dark and dangerous Kali to slay the demon Mahisasura on the new moon day of the Tamil month of Purattasi (September to October). The temple of this vital, fear-inducing goddess Devi Mutharamman is 300 years old. The only one of its kind in South Asia, this temple houses the male and female deities within the same shrine. With no place to stay, or eat, Kulasekarapattinam, 60 kilometers from the nearest town Tuticorin, could be a traveller nightmare. Not so for the fervently devout, who convert the beach into a fair ground. Some vendors sell miracle talismans. Others hawk cotton candy and Knick-knacks.

Here, prayers take on potent forms. People dress as gods. They take to the streets. Men metamorphose into goddesses. Children paint themselves as black demons with perfect white fangs. Women, possessed by spirits, utter prophecies. Colours run riot. Rivers of arrack flow. Everybody dances throughout the day. They stop, briefly, only to seek Alms. The high-voltage, pulsating beats of Tamil war drums drown out the roar of waves on the rugged seashore. Days fill with euphoria. Nights Float with ecstasy. At the end of this festivity, people prepare for the holy dip in the sea. As their divine disguises wash off, their dreams perhaps come true.

Text: Meena Kandasamy

njaisingh_slider

Link to this page:  N. Jaisingh/Trikaya Photos
Comments
  1. “Colours run riot” – would be nice to see some color!

    Allison Joyce — December 6, 2009

  2. nice work, comrade! i am agree with allison joyce….i am trying to visualize the photos in colour!

    adnan — December 7, 2009

  3. Thanks for the comments, the feedback for the photographers is great.

    Andy — December 7, 2009

  4. This is the magic of black and white photography.Splendid !!!

    Himanshu Kumar — December 8, 2009

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Zackary Canepari

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The citizens of the Kathputli Colony slum in North Delhi live much like the other 220 million slum dwellers in modern India. Large families overcrowd one room shanties with dysfunctional electricity, non-existent plumbing and poor sanitation. But unlike the rest of the slum dwellers in India, this slum has been touched by magic.

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For the past five decades, magicians, acrobats, jugglers, musicians, dancers and puppeteers have migrated from all over India to the small illegal settlement. Nearly all of the 1,500-3,000 (depending on who you ask) families in the colony are professional performing artists. Many have found success operating at 5-star hotels in India and at Cultural Festivals abroad, but they continue to return to their homes in the cramped, dirty streets of Kathputli. But these are also the streets where friends entertain each other by turning a burning piece of paper into a crisp 100 rupee note. Where the sounds of tablas and singing can always be heard in the distance. And where a daughter and father can be seen on a rooftop practicing magic…

Zackary Canepari

Horse Dancing in Kathputli

Zackary Canepari is a American photojournalist who has worked extensively in India.
Link to this page:  Zackary Canepari
Comments
  1. Loved the work! I am planning to buy a medium format , what camera did you use ?

    Saiful Huq Omi/ Photographer

    Saiful Huq Omi — September 28, 2009

  2. Amazing work.. Great colors and the subject matter is just GOLD..
    Really enjoyed it.

    The Light Search — September 28, 2009

  3. Wow!! Great !!! Loved the story and the way photographer used color.

    Tanvir Ahmed — September 28, 2009

  4. really quite beautiful photos. thanks, i think i just fell in love

    con — September 29, 2009

  5. this is breathtaking work. the colours, the textures, the subjects. just wonderful – bravo

    ciara — October 2, 2009

  6. The light. The color. The captured moments. Words fail me, right now. Absolutely magical photos.

    And I love the way Canepari works the square.

    I’m definitely going to show these to my students next week.

    John Edwin Mason — October 2, 2009

  7. I just admire people like you, thank you for showing us the world.

    Ezequiel Resenite — October 6, 2009

  8. Inspirational. Thank you.

    Charles Meacham — October 15, 2009

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Jonathan Berger

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Photographs by Jonathan Berger

Chag-Po Nang-Ha » is a Tibetan expression which means “Take care of yourself.”

Jonathan Berger’s photographs document the clinics that provide medical care to the Tibetan exile community in India.
Tibetan Delek Hospital, founded in 1971, provides much-needed health care to the Tibetan and local Indian communities in Dharamsala, India in the foothills of the Himalayas. The Tso-Jhe Hospital provides care is in the Bylakkupe Tibetan settlement, a large community of Tibetans in the south of India.

TB “negative” patients can be cured day by day at the clinics while the positive TB patient have to go for months at the hospital. The Dalai Lama is the hospital’s patron. Delek hospital’s 45-bed charitable hospital provides general medical care with a special focus on Tuberculosis, the single most serious infectious disease that threatens the Tibetan population and new arrivals in India. Although tuberculosis is a curable disease, the principal problem for Tibetan patients, especially young adolescents, is that they must follow the cure scrupulously day by day, or the disease mutates and becomes drug resistant.

Jonathan Berger

berger_opener

Jonathan Berger is a photojournalist from Liege, Belgium. After more than 15 years working as a lighting engineer and film technician, Jonathan Berger turned to his passion, documentary photography. His work on tuberculosis has been shown by the World Health Organization.
Link to this page:  Jonathan Berger
Comments
  1. simply excellent!

    Delvaux — September 22, 2009

  2. Stunning set of images. Congratulations!

    forestmat — September 22, 2009

  3. Very nice! And the Lama chanting goes so well with it. Is there any way I can get this track? Its really nice! :)

    Vikas Munipalle — September 23, 2009

  4. You could contact me at info@jonathanberger.be about the music…

    Jonathan

    Jonathan Berger — September 24, 2009

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Amnon Gutman

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Photographs by Amnon Gutman

IDF reservists must “give” almost 30 days a year to their country, this includes serving in the occupied territories in order to execute the Israeli government policy……..some refuse to do it, others believe that no matter what, the loyalty to their country is above all ideological debate.

Born on a kibbutz in Israel in 1977, Amnon Gutman began expressing his photographic interest during the four years he traveled the world. Returning to Israel, he studied at the college for photojournalism in Tel Aviv. For his final project, Gutman joined the Tel Aviv municipal paramedics team for one year in order to document their night shifts. Since becoming a professional freelance photographer (end of 2006), Gutman has covered stories in places that the media world tends to ignore, places on the fringes of public awareness. In Africa he did work in Uganda, Tanzania, Malawi and Mozambique dealing with HIV/AIDS and the on- going conflict in eastern DRC focusing on the FDLR Hutu militia. He went to China to take photos of the earthquake aftermath and shot the civil war in Sri Lanka. Most recently, Gutman has completed a project focusing on "the Ilaga" Christian vigilantes living on the southern island of Mindanao in the Philippines. Currently based in Israel, and documenting the ongoing Israel-Arab world conflict, Gutman continues his work on long term projects that interest him in places that have not necessarily enjoyed the media spotlight. His work had been published by Newsweek, the Guardian, the Observer, Le Monde, Boston Globe, Courrier Japan, the Epoch Times and others. In addition, Gutman won third prize for his paramedics project in the national photography competition, “Local Testimony” (Israel), and has participated in Courrier Japon’s “This Day of Change” special book project for this year, April 2009.
Link to this page:  Amnon Gutman
Comments
  1. Very good and impressiv pictures, we can fell the photographer is right inside. Well done ;-)

    Ysabelle — September 12, 2009

  2. well done, it will be interesting to know what the photographer think.
    good luck & take care. not easy places to work.

    amir — September 14, 2009

  3. very tight, mr. gutman, as usual. putting the human in front, the people behind the conflicts, behind the news. llways alike, allways people.

    amnon — September 14, 2009

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Mathieu Grandjean

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XY Project

XY is a portraits series started in 2005 that probes the critical question of the notion of couple in the Western society today. Although a couple is commonly defined as two people linked together in an intimate relationship, its diversity (inter-racial or same-sex) is still not completely recognized or officially accepted nowadays. Most of these portraits were taken in California where the notion of married couple was strongly debated in 2008 with the approval on November 4, 2008 of Proposition 8. It overturned the California Supreme Court’s ruling of In re Marriage Cases (2008), thereby restricting the definition of marriage to opposite-sex couples and eliminating same-sex couples’ constitutional right to marry.

The series includes couples from my intimate circle but most of them were randomly approached. Some portraits were made during scheduled sessions, others on the spur of the moment when I was setting up my equipment in public spaces such as farmers markets or gatherings asking people if I could photograph them. In every case, the setting remained the same: one chair against a neutral background, in daylight. Couples are directed to face the camera without looking at each other. For each photo session, I restricted myself to one 36-exposure roll of black and white 35 mm film in order to preserve the vitality and the authenticity of the encounter. Such approach emphasizes the unique character of each couple while the broad selection conveys an universal condition. Although the partners are aware of the camera, these stark portraits reveal an unexpected aspect of both individuals while their gesture expresses the intimate relationship between them.

mathieu_opener

Mathieu Grandjean is a French photographer, based in Los Angeles since 2004. Using both digital and traditional processes, he primarily works with black and white film for his long-term photo documentary projects and portrait studies and prints himself his black and white images with the traditional silver gelatin enlargement process. He was selected by the Bourse du Talent in 2003 and 2005. His work has appeared in Liberation, Figaro Magazine, Latences, Technikart, as well as San Francisco Bay Guardian, Bag News Notes. His work has shown in the Espace Nesle (Paris), the Power House Arena (New York), the Annenberg Space for Photography and the 13th International Los Angeles Photographic Art exposition (Los Angeles). His current project is called Backdraft, focusing on the work of individuals and organizations that seek to provide for the needs of U.S veterans and that denounce militarism in society. He received a sponsorship from the Eastman Kodak Company to support this on-going project recently featured in “This is where we take our Stand”, a webseries by David Zeiger.
Link to this page:  Mathieu Grandjean
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Alixandra Fazzina

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“We Pray That They Do Not Come Back”
Photographs by Alixandra Fazzina
After a long, hot summer that saw millions displaced by conflict in Pakistan’s Swat Valley, the last few weeks has seen residents returning as an uneasy peace prevails. Outside of Swat’s main city Mingora, operations by security forces still continue as Maulana Faizullah’s Taliban linger in the villages and mountains. Even as attacks continue residents are returning to broken families and destroyed homes while facing an uncertain future. Many express concern that the Taliban will return to their campaign of terror. “We pray that They don’t come back” looks at the fractured lives of those who have returned to Swat. Coming from a fine art background, Alixandra Fazzina began her working career as a commissioned war artist with the Ministry of Defence, embedded with multinational troops on the frontline in Bosnia making documentary studies. Subsequent press assignments in The Balkans and Eastern Europe eventually led her back into work with British forces in Sierra Leone. Since then, Alixandra has spent the last 8 years based in Africa, the Middle East and South Asia. Traveling widely, her photography has focused upon forgotten conflicts and humanitarian issues often ignored by mainstream media. In addition to her work for British newspapers such as The Sunday Times, The Guardian and Observer, The Economist, Telegraph and Independent, reportage features have been published across international titles including Time, Newsweek, The New Yorker, The New York Times, Stern and Corriere. Alixandra’s photography has been exhibited worldwide in locations as diverse as Paris, Sao Paulo and Baghdad. Winner of the 2008 Vic Odden Award for a her contribution to photography by a British photographer under 35, Alixandra has also been a finalist in this year’s Eugene Simth and the Care awards for humanitarian reportage. Her recent work from Somalia “A Million Shillings” will be published by Trolley Books later this year. Based in Pakistan, Alixandra Fazzina has been photographing the crisis of the internally displaced persons over the last few months and continues to document the war’s effects on the civilian population after what has been Pakistan’s worst humanitarian disaster.

Link to this page:  Alixandra Fazzina
Comments
  1. Alix, good work. Are you shooting an M8? It looks like this is the kind of shooting that would lend itself to an M-bodied Leica.

    Stay safe.

    David Manning — September 17, 2009

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Aynsley West

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Mothers of a Nation
Photographs by Aynsley West
Mothers of a Nation is about a group of empowered Ugandan women living with HIV and their fight for survival through sustainable farming methods. The photographs depict the women who tirelessly uphold their nation despite heartache and suffering.

Ugandan women endure oppression everyday in a society run by men, but their determination runs the nation, regardless of politics. Women with HIV suffer from the prejudice and isolation that comes with having the virus. Many women are kicked out of their homes and abandon by their families if they decide to come forward and get HIV tests and treatments. Women and children, in many cases, starve to death or turn to prostitution because society turns their back on them.

The thousands of women whose tragic deaths lead to suffering and the continuous spread of the disease have brought about no positive change in the fight against HIV/AIDS. This series is focused on a group of women who have refused this destiny and sought control over their desperate situations. Their only opportunity for survival is through self-sustaining agriculture and unity. These are the faces of those who embody both the beauty and strength of a struggling nation.

Ansley West is a fine art photographer from Atlanta, Georgia. Her art interprets narratives both real and speculative through her compositions, often using herself to recontextualize those stories. The work portrays social issues on subjects like mental health, women’s portrayal in the media, HIV/AIDS in Uganda, food consumption, and the psychology of altered landscapes. She shoots all film with a large format or medium format camera and hand- prints on fiber paper. The whole process from film to darkroom is an important part of her photography. West’s artwork is in many private collections including Georgia’s Museum of Contemporary Art. West has worked on many international projects. She shot stills for the film, “When Clouds Clear,” an anti-mining documentary about the cloud forest in Ecuador. She has had three solo shows and has been in many group shows. West’s work is in two publications: “Slow Exposures” and “The International Library of Photography Book.” West has received two grants from The Museum of Contemporary Art, GA. West has recently returned from shooting a documentary film called Mothers of a Nation on 16mm in Jinja, Uganda about women living with HIV and their connection to agriculture.
Link to this page:  Aynsley West
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Scott Lewis

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God and Globalization
Photographs by Scott Lewis
Since the 1960s, a new wave of immigrants, largely from Latin America and Asia, have brought new faith traditions and practices. Before the 1960s, most Eastern faiths hardly existed in the U.S. whereas today Muslim mosques and Hindu temples are commonplace in suburbs and cities across the country. Today, those communities and others are now a commonplace part of American life. No where can the intense diversification of American faith be better seen and understood than in Flushing, Queens in New York City.

According to R. Scott Hanson, author of the book, “City of Gods: Religious Freedom, Immigration, and Pluralism in Flushing, Queens—New York City, 1945-2001,” there are over 200 places of worship in the borough. Religion is literally on display on the streets of this chaotic urban community. Economically devasted in the 1970s, Flushing was reborn by Asian businesses and residents leaving the
overflowing Chinatown of Manhattan; new immigrants found friendly faces and cheap housing on the outskirts of the city. Unqiue zoning laws allowed for the proliferation of houses of worship and as immigration grew and became more diverse, a perfect set of circumstances gave way to the most religiously diverse spot on the planet.

I’ve spent time documenting a selection of religious communities from the oldest, Quakers, to the newest at the China Buddhist Association whose temples serves mostly new Chinese immigrants to the active and flourishing Hindu Temple Society of North America (the first Hindu Temple in the U.S.). As new groups settle into the fabric of the community, established churches have evolved to incorporate new languages and traditions such as St. George’s Episcopal church and Bowne Street Community Church which both incorporate Taiwanese and Latin American traditions along with their more commonplace English language and American traditions. While the Eastern faiths and faces are flourishing, some of the older established communities struggle to maintain their place in the evolving landscape. Most of the Jewish synagogues’ memberships are in rapid decline as Jews move farther out in the suburbs. Temple Gates of Prayer is the most active and vibrant synagogues in this part of Flushing due in large part to the leadership of charismatic Rabbi Albert Thaler.

I have documented rituals and everyday moments that bind followers of various faith traditions. A deep connection to a faith’s spiritual roots as well as the strong bonds of fellowship are the core of these communities regardless of faith doctrines. I have tried to steer clear of what I feel is previously known or understood as well as trying to dispell some stereotypes, all the while tapping into the intense beliefs and joyous celebration of believers. A man praying silently during the Lunar New Year blends in perfectly well on the streets of the city, his red fleece vest providing no hint of his Buddhist faith. Faith is so much more than doctrine, didaticism and costume, although seeing Rabbi Thaler dressed as a nun in his annual outlandish Purim actions
was a fantastic moment of levity and life. A reminder that religion does not need to be an uptight,
solemn practice.

The relative peace and calm of such a diverse and densely populated community as Flushing is a testament to a multicultural society. It is noteworthy to see what’s possible when the profound but paralyzing battles between faiths are supplanted by the equal space for mundane everyday practices of life, work and prayer.

was raised in Dallas as a New Yorker in exile. Nothing at all wrong with Texas, I now pine for quality Tex-Mex and that slightly crispy feeling on your skin as the summer sun broils it to a crisp. While lost in Liberal Arts at the University of Texas-Austin, I discovered photography and all the doors that it could open along with the power and impact of creating images. After grad school at the University of Missouri, I began a generally successful 10-year career in newspapers which included some awards – NPPA Region 5 Photographer of the Year, POYi's Community Awareness Award, First Place People in the News in World Press Photo and three Pulitzer Prize nominations. After meeting my New York City born-and-bred wife in North Carolina, I left newspapers and relocated to the Northeast eventually settling in, and loving, Philadelphia where I now live with Caroline and our one-year-old son Ari.
Link to this page:  Scott Lewis
Comments
  1. NYC hasn’t been the most religiously diverse city in the world for more than a decade. You might want to look at current census data and rethink your wording.

    Nice photos though…and the positive message behind your work is fantastic!

    anon — August 31, 2009

  2. Thanks for the comment. I’m not talking about New York City as a whole but rather just Flushing. The academic research on this is not mine, but according to religious historians, there is no place that has as many different religious communities in such a concentrated area as Flushing. I’ll have the historian whose work forms this assertion respond more fully.

    Scott Lewis — September 1, 2009

  3. A refreshing take on religions. Is it still a work in progress?

    Luc Novovitch — September 4, 2009

  4. The U.S. Census stopped recording data about religion in 1936, but you can get a pretty good sense of the picture with data from the Religious Congregations and Membership Study (RCMS) of the Glenmary Research Center. Although Los Angeles has been reported to be the most ethnically diverse city overall in recent years, the 1990 and 2000 Census show that the borough of Queens in New York City is the most ethnically diverse county in the country. Because of the large amount of immigration since 1965 from East Asia (Japan, China, Korea) and South Asia (India, Pakistan) as well as Latin America, Flushing has become a microcosm of world religions with each community establishing many new places of worship alongside older churches and synagogues. Religious diversity is not unique to Flushing, but nowhere else are so many different places of worship as densely concentrated in such a small urban neighborhood.

    The book, City of Gods, is not yet out but is expected to be published later in 2010. For more info about the project, see:

    http://www.pluralism.org/affiliates/shanson/index.php

    and

    http://www.america.gov/st/diversity-english/2008/August/20080825143428xlrennef0.4305994.html

    R. Scott Hanson — September 6, 2009

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Noah Addis

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Sempre Jardim Edite
Photographs by Noah Addis

The Jardim Edite favela, located at the foot of the landmark Estaiada bridge in an affluent section of Sao Paulo, Brazil, was once home to more than 550 families. Most are gone now, as the government of Sao Paulo has forced them to leave their homes to make room for a new development.

Many of the residents of Jardim Edite came from the countryside, often from poor rural communities in the North, seeking opportunity in the bright lights of the city. They built their homes first out of scrap wood and cardboard and whatever else they could find, but over the years some of the homes have grown into reinforced concrete structures with running water and electricity.

The neighborhood was home to several bars and restaurants, a barber shop and beauty salon, a bicycle repair shop and several other businesses. Some residents supported their families working for businesses outside the favela, many worked long hours collecting recyclables to take to a nearby sorting facility.

City officials have long wanted to remove the ramshackle homes and businesses that make up Jardim Edite. As part of the Favela Urbanization Project the government wants to replace the favela with a modern housing development. In September of 2008, a court order sealed the fate of this tight-knit community when a state tribunal judge said the project could go forward and the occupants should be evicted.

Plans call for a complex of buildings with 248 two- and three-bedroom. Officials from the Secretaria Municipal de Habitação (Municipal Department of Housing) have denied repeated requests for interviews and information about the proposed development project.

Some residents, those who were previously registered with the city as official occupants of the favela, are eligible for rent subsidies or cash payouts if they leave their homes. But these payouts are often not sufficient to find suitable housing , so many families end up moving to other favelas. Meanwhile the neighborhood, where some have lived for more than 30 years, is slowly being demolished.

Noah Addis has been working as a professional photojournalist and documentary photographer for more than fifteen years. His work has been published in major publications including The New York Times, Time, Newsweek, People, US News & World Report, Life's Year in Pictures and many others. Noah graduated Magna Cum Laude from Drexel University in Philadelphia with a degree in Photography in 1997. He worked as a staff photographer for the Star-Ledger newspaper in Newark, NJ from 1997 through the end of 2008. Noah has covered such stories as the growth of Christianity in Africa and the war in Iraq. He has won numerous regional and national awards including the New Jersey Photographer of the Year award three times. In 2001 he was the runner-up in the portfolio category of the National Press Photographer’s Association Best of Photojournalism contest and he has won General News and Feature awards in the Pictures of the Year International contest. His work has been shown in galleries in New York and Philadelphia. Noah's most recent projects revolve around squatters communities, unplanned urban growth and income inequality throughout the world. More of his work can be seen at www.noahaddis.com.
Link to this page:  Noah Addis
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Nanni Fontana

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Moskitia Indians
Photographs by Nanni Fontana

 

La Moskitia is a region between Honduras and Nicaragua that is home of the Miskitos indigenous minority. In the Honduran Moskitia, 75% of the population live below the poverty line. 77 out of 1000 children die because of diarrhoea, malaria, tuberculosis and malnutrition. The rate of infant mortality is comparable to that of Uganda.

There area lacks any semblence of an infrastructure, and there is no access to medicine and medical assistance. The only hospital is in Puerto Lempira, the capital of the Dipartimiento de Gracias a Dios. There are two surgery rooms but they are badlt unequipped. Only the luckiest families can rely on small 15-horsepower motorboat that are required to reach the hospital and even those with boats it can take many hours to reach the hospital.

La Moskitia is only by plane or by boat. There are no roads that connect it with the rest of the country. Water is the predominant element in the life of the Miskitos, and many survive by working as lobster fishermen.

Rich businessmen from the Bay Islands send their ship in Puerto Lempira to collect people wishing to be employed. Their equipment is old and the divers are tempted to take chances by the prospect of earning a much needed payday. Many suffer from Decompression Syndrome which leaves them unable to work and even paralyzed.

Nanni Fontana was born in Milan in 1975. In 2001, after graduation in international financial market’s economy, he became a professional photojournalist. He has collaborated with New York based agency WpN and Milan based agency Prospekt Photographers and his work has been published in Il Corriere della Sera, La Repubblica, The Financial Times, The Guardian, Die Tageszeitung, Yedioth Ahronoth, L’Espresso, D la Repubblica delle Donne, The Economist, Newsweek and Internazionale.
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Comments
  1. Great pictures. I enjoyed the insight you provided into a place I never knew existed.

    David Manning — September 17, 2009

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Aslon Arfa

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Ishura in Iraq
Photographs by Aslon Arfa

The Day of Ashura (عاشوراء (ʻĀshūrā’, Ashura, Ashoura, and other spellings) is on the 10th day of Muharram in the Islamic calendar and marks the climax of the Remembrance of Muharram. It is commemorated by the Muslims as a day of mourning for the martyrdom of Husayn ibn Ali, the grandson of the Islamic Prophet Muhammad at the Battle of Karbala on 10 Muharram in the year 61 AH (October 10, 680 AD). Sunni Muslims believe that Moses fasted on that day to express gratitude to God for liberation of Israelites from Egypt. According to Sunni Muslim tradition, Muhammad fasted on this day and asked other people to fast.

There are different ways of mourning in different Shiite cultures from the beating of chests, beating oneself with a chain, even stabbing with a knife to their head, but Bijar is the only city of Iran which people cover themselves with mud a special mud brought from Kerbala where
Husayn died.

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Nayan Sthankiya

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There is an old Korean proverb which says, “Even rivers and mountains change so much in a period of ten years.” I think it meant that nothing is unchangeable, that change is the driving force for the evolution of all living beings in nature. Although everything might change with time, there is one thing that does not change. It is nostalgia for the past.

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About ten years ago, I lived in Cheongjin, a little coastal city in the northernmost part of the peninsula. It’s a pretty little town surrounded by mountains, a river and the ocean. Blessed with the beauty of nature, my childhood there was happy. I listened to different birds chirping in the morning and sometimes in the quiet evening, I could hear the whistle of faraway ships in the ocean. The town bustled with a lot of activities during the day. I took my mother’s hand when I first went to elementary school. There were times when I played hooky and went to the seaside with my friends. We were punished by our teacher the next day. On holidays my family sat around and played our traditional yut games in the house. When I was older, arriving at puberty, I felt my heart throbbing when I brushed past a pretty girl on the street. These are the memories of my childhood in the north and it is like my little treasure box that I open from time to time when I feel lonely, but I have no one to share with.

When I was in high school, we often took part in a mass calisthenics, especially to congratulate our leader Kim Il-sung’s birthday. We were also mobilized to work in the country. One time we worked for two months, weeding and planting rice seedlings in the fields. We worked under the slogan of ‘Socialist Construction’ which inspired us to devote our youthfulness to the leader and the socialist country. We were up at six and went to the Statue of Kim Il-sung to sweep the square and take an oath of loyalty to the leader. I still have my family there in the north, including my adorable nieces and nephews. I miss them all. It’s almost ten years since I left home.

In the winter of 2000, I left my hometown where I had lived for 20 years. I came to South Korea, the southern half of the only divided nation in the world.. Only in recent years, the divided halves began to help each other on many issues. However, when I first got here, things were quite different. Those who wanted to have a dialogue with the north were simply condemned as ‘Red Communists.’ I never imagined the South was so cold and hostile towards the North. I thought I saw another North Korea in the south. It seemed the hostility between the two countries was now too deep to be reconciled. It’s deplorable that for these 60 years of division, we’ve never come up with any solution to settle the mistrust and animosity of homogeneous people.

We can see in this book the graphic reality of the North. The author tries to focus his lens on the inside of the North Korea which has been covered in veil, starting from Panmunjom at DMZ. He does this scrupulously and impartially from the viewpoint of a third party. He seems to be searching for answers to why the country still remains divided after so many years and what might be a solution for the country to be reunited again. Even in the daily activities of little children, it isn’t difficult to find the spirit of their socialist ideology. But the photos seem to tell us, “Yeah, this is what I look like. So, let’s get to know each other better.” Among the photos, there are many things that indicate that we are more in common than we are not, providing confidence in us that we could be reunited someday.

Seong Guk
North Korean Refugee

In early 2004, I was made aware of a ten day tour going to North Korea, organized by the Korean Friendship Association. This tour had the added benefit of allowing journalists to accompany and would involve extensive travel throughout North Korea. Tours of North Korea are usually limited to very specific tourist stops and very little to no interaction with the North Korean public, this tour had a little bit more flexibility in sites visited as well as the possibility to interact with locals on a limited basis.

As a visual journalist, I try to keep an open mind and an open eye. Much has been written about the various problems in the North Korean regime. This tour would obviously not be showing us any such dire situations and no matter how controlling a dictatorship is, they can’t control everything at all times. That said, having covered and documented some of these issues I was more interested in the daily hum drum lives of North Koreans, who, generally put their pants on one leg at a time like the rest of us. There is a minds eye picture in the world of North Korea as a ruthless military state, its citizens foaming at the mouth, bent on the destruction of the west. This view has great advantage from a military stand point and making a military strike much more palatable for the outside world. A similar strategy was used to great effect not too many years ago with devastating results for the average citizen just trying to make ends meet.

I decided to tackle my introduction to North Korea at face value and present what I saw how I saw it, without embellishment leaving it up to the viewer to draw their own conclusions.

Nayan Sthankiya

Nayan Sthankiya is an East Indian visual journalist raised in Canada. For the last 10 years he has been based primarily in Asia covering breaking news as well as political, social, cultural and environmental stories on assignment as well as self generated. He has been commissioned and completed assignments throughout the globe for magazines, newspapers and NGO's. Born in Uganda, Africa to East Indian parents, forced to flee during a brutal military dictatorship learning first hand at a very young age the importance of media, the image and it's role as a witness, its ability to foster dialogue and in that dialogue effect positive change.
Link to this page:  Nayan Sthankiya
Comments
  1. Frame 4…is that an amusement park? Who uses it?

    Interesting study. The metro station reminds me of what the metros in Moscow looked like, especially under the Soviets.

    David Manning — September 17, 2009

  2. Nathan, well done. I spent a couple years as a missionary in South Korea. Korean people are so generous. You did a fine job of documenting an unpopularized side of the country. I would love to visit the North someday.

    Cam Peterson — September 17, 2009

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