SIGNAL by John Stanmeyer

SIGNAL by John Stanmeyer

“Signal”, by John Stanmeyer, is an image that shows African migrants on the coast of Djibouti City with cellphones raised, trying to catch the faintest signal to reach their relatives abroad in Somalia, Ethiopia, and Eritrea. This image touches one of the more sentimental, and often unnoticed, issues that come with migration. It easily conveys the nostalgia felt by the people in the image because of its dream-like quality.

            In the image, the group of people standing by the waters edge is silhouetted against the deep blue night sky, which often gives a romantic feel to an image. The brightness of the moon and the phones held up to the sky almost makes it feel like the moon is their connection to their love ones. Also the repetition of the arms holding phones shows the urgency of the need to connect.

            This is very impacting for me because for my Geography senior seminar class, I’m doing research on Somali refugees in Kenya being repatriated. I think this image is incredibly powerful; it is part of the series “Out of Eden” which is a growing set of photographs from Stanmeyer’s 21,000 mile walk from Africa to South America, but it doesn't need the rest of the series to successfully tell this story. The feelings he is trying to get across about the pictured migrant people are so clear that only the one image is needed.

Ebube Ezeh

Matika Wilbur: A Vision in Gray, by Lauren Webb

Years after photographer Matika Wilbur’s grandmother died, she had a dream of her grandmother persuading her to return the Pacific Northwest to photograph “her people”: Wilbur’s people being the Native American tribes of the Pacific Northwest. For years prior Wilbur 29, had been photographing the indigenous tribes of South America so these environmental portraits were nothing out of Wilbur’s realm of experience upon returning home to the Swinomish Reservation in Washington. Wilbur’s notion when photographing is that there is no such thing as the preconceived visual idea of the “Real Indian” in the 21^st Century. Anyone who is Indian simply is, whether they choose to embrace it culturally or not.

Currently Wilber is working on a series titled Project 562 in which she hopes to document members of all federally recognized tribes in the United States on tribe grounds. Using a Kickstarter campaign Wilbur has raised $170,000 for her cause to travel the US and document members of various tribes, over $100,000 more that her intended goal.

Wilbur is careful not to indulge Hollywood depictions of Indians adorned in feather headdresses, turquoise, loincloths or buckskins, carrying bows and arrows on horseback. Turning stereotypes on their head is an evident motivator for Wilbur as well. Each photo is as much a commentary on the landscape as is it is a portrait. With the layered black and white backgrounds, Wilbur makes a seamless transition to muted colors, which better conveys the emotions of the individuals being photographed. It is a fascinating spin on the environmental portrait and Wilbur does it well.

I chose this piece to report on because aside from finding Wilbur's work very visually stimulating, I also very much resonate with her notion that there is no such thing as physical embodiment of Native American. As someone who identifies as Indian and who lived on a reservation for 12 years, I find it incredibly disrespectful when the subject of race or ethnicity comes into conversation and I have to defend not only my heritage but my right to claim my heritage just because I do not look a certain way. Not that I owe anyone an explanation but people are often dumbfounded when I explain to them I am equal parts German and Native American. I very much look like what people's perception of a German American woman is however I identify so much more with being Cherokee and Potawatomi because I grew up in a place where it was common and celebrated. In short I think Wilbur's efforts to de-stigmatize Native Americans and our culture might have a solid shot at undoing centuries worth of harmful stereotyping and ostracizing.  

“Keeping Jazz’s Rhythm With a Shutter” by Aram Avakian, by Hannah Schwartz

Hannah Schwartz

This series called, “Keeping Jazz’s Rhythm With a Shutter” by Aram Avakian is a series about the jazz musicians on the late forties and early fifties. One image surprised me. The caption reads, “Mr. Garner soaked his sore hands in his hotel room sink. Paris 1947”. It was taken when Avakian was shooting recording sessions at Columbia Records in the 1940’s and 1950’s. I chose this image because it really shows the difficulty of being a musician. The majority of the photos in the series were taken in the recording studio or at performances, but this image shows a different side of the music business.

Most people only see the performers on stage, but this image of the aftermath speaks volumes about how much of a toll the music takes on the musician.  You can tell from Mr. Garner’s expression that he is exhausted. The man has fully given himself to his music and this is what is left. He is slumped over with his head almost in the water. When I first saw the picture I thought he was drowning or falling asleep and about to fall in the water. His face shows exhaustion, but also relief. I think this photo is powerful because it shows the side of the musician that no one really gets to see. It is such a personal moment that we are allowed to peek in on. It is like being a fly on the wall. While on stage they and separated from their audience, so seeing Mr. Garner in this vulnerable moment is special and would probably be a bit surprising to one of his fans. Imagine seeing a musician or performer you love passed out in a sink post show! It would definitely give me a new perspective on some people. It reminds us that they are human too.

While I believe this is a strong image alone, I do believe it is more powerful as a part of the series. As I was scrolling through the photos, this photo was the one that made me pause. It was so different. It didn’t stick out in a bad way, but definitely showed the audience a whole new level of vulnerability. All of the images remind the audience that these musicians are human too. They show how much time, effort, passion, and hard work these people put into their craft. I love how the photo is in black and white. I think it adds warmth too the photo. I love how the reflections on the water were captures and his hands are distorted beneath. It puts attention on his face and how truly comforted the man looks by the water. Overall, I believe this is a successful image.

LaToya Ruby Frazier, by Victoria Espinoza

LaToya Ruby Frazier’s work in “Landscape of the Body” shows haunting images of Frazier’s impoverished hometown. She grew up in the suburbs of Pittsburgh, in a town called Braddock. The population of Braddock has decreased by 90 percent since it’s height of success, which was in the twenties. Braddock was a flourishing steel town, home to Andrew Carnegie’s first steel mill. The town is doing so poorly now, the one hospital they have (that Frazier features in one of her photos) actually closed down in 2010.

“Born by a River” was organized by curator of the Seattle Art Museum Sandra Jackson-Durmont. The show functions on three levels; large color aerial photographs, small black and whites and portraits. The large color aerial shots are taken from a helicopter and represent Braddock from a distance. The smaller black and white shots show broken land and buildings and the portraits show the private life of Frazier and her family. She has three generations of relatives who have lived in Braddock.

I chose this image and this series because of the truth I saw in the photographs instantly (also because I’m kind of obsessed with shooting my nanny). The black and white choice also seems to add another level of truth, and it makes me think that color might have almost been taken away because it could’ve distracted from the main point of the pictures which is the damaged spirit of this town.

Each picture is explicitly clear about what it’s trying to convey, whether that’s deterioration, a feeling of being deserted, or on a more positive note, a new generation. This photo shows the clutter in the grandmothers house that she lives with, and I think its meant to signify the mess of the state that this town is now in, with old relics, like how the towns pride mainly lies in its past.

I think this image on its own is definitely impactful, but I got much more out of it once I learned about the series it was in. I think it’s much more powerful when you realize that it can actually signify a lot of Frazier’s hometown.

http://lens.blogs.nytimes.com/2014/02/21/born-by-a-river-watching-the-change/?_php=true&_type=blogs&_r=0

Butch Queen Bizarre

Jennifer. Eric Bazaar Ball. Brooklyn 1999. 

    While surfing the pages of the NY Times Lens Blog, I stumbled upon an article entitled, Being Seen Inside an Unseen World, and I was immediately drawn to the images presented in the story. Photographer Gerard H. Gaskin spent many years photographing the world of "underground house balls and late-night pageants where gay and transgender men and women compete in categories based on attitude, costume and dance moves." Some of his images were presented in color but I felt more strongly about the photos he had presented in black and white. The photo above is of a transgender male who goes by Jennifer, preparing for her on-stage moment. The way that Gerard has managed to capture the glamour and beauty of this hidden underground scene is simply mesmerizing. He seems to capture each persons true being with every photograph and has a way of catching someone's eyes at just the right moment. In the photo above I get a strong sense of personality, passion, and strength just pouring out of Jennifer by the way Gerard managed to capture her demeanor and expression at just the right moment. There is something very delicate, peaceful, and beautiful about the subjects he photographs. When first viewing the photos I was awed by the fact that the people were in fact actually men, it wasn't the first thought to cross my mind. And this is because of the way Gerard has managed to photograph each being as the person they are rather then their extravagant outer beings. There is an astounding connection between each of his subjects with the camera whether he catches their direct gaze or not. 
    The most captivating visual element of this photograph I think is the stare Jennifer is expressing and Gerard captured. While looking at the photo you get just enough detail from her outfit, and hair, and accessories, what kind of setting she may be in. Especially with the information in the background of the photo, the clutter, and the movement that seems to be going on so closely to where Jennifer is having her intense moment. It seems like she is gazing out a door or window of some sort because the reflection bounces off of her perfectly powdered face and leaves just enough information for the viewer to connect with her eyes. The most powerful statement in this photo is her eyes. Its a look of confidence, of wonder, of passion, and a quite impressionistic quality about this photo. 
    I strongly think this image does work alone, and can stand alone, but would need a bit of background info with either a caption or text of some sort. However when seeing it paired with the other black and white photos from his collection I think this photo would be even more remarkable as a series. It would stand out as a stronger photo of the series for sure but I think pairing it with other photos would help the viewer gain more info about the setting and scenario. This image really impacts my thought of 'what you see is what you get' because this may not be true. There is so much more to a person then what is right in front of you and I think Gerard's mission was to explore tearing down those exterior walls to connect with people and their inner beings. I think this project is very influential and powerful and I would like to see Gerard continue with this story/idea to see where it can lead to next. 


Maya Collins

Spectacle

Untitled, Studio 54, New York, 1978.

Tod Papageorge’s This Ain’t No Disco. It’s a Photograph series introduces the viewer into the high-spirited landscape of Studio 54. One of the most exclusive clubs in New York City in the 1970s, Studio 54 opened its doors only to the most chic, most famous, most beautiful individuals, shaping the club to be a celebrity playground. Seen as a disco and a place to dance to let loose to the greatest hits of the present day for some, Studio 54 also bred individuals, drawn to its spectacle, enticed by the glittering scene who, in turn became spectacles themselves.  With his Fujica 6 by 9 camera, Papageorge exposed the spectacle of Studio 54 individuals in his photograph, Untitled.

            Untitled depicts three figures, two women, dressed for a masquerade and a man in a suit and tie. The women hold in their fingers heavily decorated masks and cigarettes. They position themselves toward the man who stares to the ground before him. The individuals do not seem to be interacting with one another. While in the backdrop, they are surrounded by other figures in similar festive attire. It is hard to clearly see what these individuals are doing, but their attention, like the three figures in the center also diverts elsewhere, someplace beyond the frame. Papageorge uses the repetition of faces and the height of the figures to create a tidal-like movement from left to right in the frame. Repetition also lies in the woman face’s and their masks. Their masks, which serve to hide their identity, ironically, mirror their natural faces. Bedecked in pale makeup, ornaments, and garlands, the two women’s faces are masks, contributing to the spectacle of Studio 54. The women wear soft and airy robes that float as they walk and represent their dispositions, but in the way they hold their masks, their hands imply rigidness and weight, not grace and elegance.

            Papageorge’s Untitled speaks of spectacle, in which authentic social life has been replaced with its representation. A Marxist critical theory, spectacle elicits commodity and a social relationship between people that is meditated by images. John Leland describes Studio 54 as a “place to be photographed, mass produced, and consumed as a shimmering commodity.”

Studio 54

This is an untitled photograph taken by Tod Papageorge. Typically a wildlife photographer, became fascinated with the garish and glamorous nightlife that inhabited the popular nightclub Studio 54.  Papageorge began making regular visits to the world famous hotspot, taking with him his 6 by 9 camera. His goal was to document rather than exploit the subjects of his photos, specifically avoiding celebrities in attendance unlike the majority of the clubs photographer populous.

This particular photograph is an example of his focus on action rather than persona. He captures the textures of the bar, the man’s velvet suit, and his companion’s satin jumper. He also is very conscious of the two glasses of liquor in each of the people’s hands. The cropping of the faces makes the focus of the picture the action of the people drinking, and of the different rich textures interacting. It is no longer a portrait of people but almost a portrait of their behavior.

I feel that this is an interesting image. The different textures give it multi faceted quality that keeps my eye moving. However without context it almost seems to be a snapshot that was aimed too low cutting of the subjects’ heads. Once placed in the photo-essay it is much stronger and over all contributes to the collection as a whole. 

In Kiev, residents left carnations in memory of those who were killed at Independence Square.

I chose this photo mostly due to how different it is from the majority of the image that are coming out of Kiev right now. There's an extreme difference between the images of violence, rebellion, and death that are being mass produced due to the uprising, and the soft-spoken--but still incredibly powerful--image of people mourning the loss of people they may--or may not--know. The photographer shows that you don't need images of a bombing to show the turmoil.

The image first captures your attention with the bright line of flowers in the center of it. Overall, the image has a grey cast to it--a feeling that matches the mourning the people are experiencing as well as the turmoil that the country is facing--but is stuck with a bright red and green line of flowers that goes through the center of photo until it disappears from view. In the image, the flowers represent hope as well as sadness--sadness at the rebellion and the loss of their loved ones, but hope that it all will end soon.

Even though the photo lacks violence, it is still as powerful as many of the other images coming out of Kiev; it contains the sadness and exhaustion of a country plagued with war and violence. Instead of outright showing the war and violence, it shows the effects of it. The photo breaks up the monotony of bombs exploding and people getting beaten with a less surprising, but still interesting alternative. 

The photo accomplishes what it sought out to do: make the viewer aware of the common people suffering in Kiev. Although it works well alone, it could also work well in a series of other photos also focusing on the common people. The image made me realize how many people are actually suffering in Kiev; even if they weren't actually harmed themselves, they are still affected by the deaths' of loved ones. 

American Pastime, Part-Time

Hiroshi Watanabe's work on the Durham Bulls is highlighted by Andrew Boryga's "Homage to a Standout in the Minor Leagues". Watanabe gives a new perspective on sports photography, focusing less on the action that happens on the field and dives deep into the inner workings of the ballgame itself. “I decided to focus on the mechanics, how everything works together, besides the baseball players."

This unique perspective of the sport comes from Watanabe's lack of experience shooting the baseball diamond, which given his past aspiration to hot the field as a kid comes as a very shocking contradiction and an uncommon link between shooter and subject. This and his foreign presence amongst the South adds to the simplicity of his photos. The shots he pulled feel somewhat eerie at times, with the lightpost among the clouds as an example. That uneasy feeling when looking at Watanabe's work is not something to look away from. In fact, he pulls one in to the game of baseball more so than any sports photographer focusing on the field in action.

One of the niches which truly makes this set of photos so vibrant is the symmetry in Watanabe's composition. "Trainer's Tools" is a pure example of the offbeat patterns that take place within these shots, where nothing is straight yet everything is cohesively patterened. This also speaks loudly to the individuals involved within the Minor League divisions: playing the same game without all of the endoresment deals and large salaries. If anything, it shows the division as a more grass-rooted American pastime than the Major Leagues.

One of the most striking photos from Watanabe's shoot are those of the scoreboard operator who sits in a booth for the entire game, watching it all through a window and pulling out the appropriate scorecard when needed. Watanabe mentions that all of the scoreboards zeros are cracked, since they are the ones that stay out on the board when the season isn't in swing. “It is indicative of the passage of time,” Mr. Watanabe said. “As long as there is no score, it all stays the same.”

Personal Reflection:

I've never been the one for sports, but I connect with Watanabe on looking back at a personal pastime after finding another hobby to occupy my time. Ever since high school I had always wanted to be a musician, playing shows all the way up till I was 17. Then one day I took a Screenwriting class and snagged my mom's Nikon for a class and I changed my course once college came around. Even though it's no longer the sole hobby that takes up my time, every now and then I return to playing music in my basement. Not going down that path and still having it in my life changed how I wanted to play and who I wanted to play for. It's become a more intimate pastime of mine, one that I don't frequent as much as I used to. That doesn't mean it has lost value.

First Ever DOCU-CHALLENGE

Docu-Challenge: Real-time documentation using cell phone cameras
The theme: Hofstra Infrastructure
Time limit: 9:05ish to 10:50
The Prize: A photography book, perhaps Robert Frank's The Americans

in·fra·struc·ture

ˈinfrəˌstrəkCHər/

noun

1. 1.

   the basic physical and organizational structures and facilities (e.g., buildings, roads, and power supplies) needed for the operation of a society or enterprise.

The entries are coming in!

Michael Cicchetti

Princy Prasad

Jessica Spitzer-Rubenstein

Hannah Schwartz

Cameron Potts

Lauren Webb

Victoria Espinoza

Alvia Urdaneta

Jen Smulo

Meghan Corbett

Maya Collins

Justin Appleton

Kelly Malloy

Anna Bautista