Everyday there are lives at home and on the other side of the world that go unnoticed; lives that may matter little to the personal hustle of trying to pay rent, get children to do their homework or figure out how late to leave the couch and still make it to work on time; but everyday photojournalists celebrate these lives.
From children playing while 1,034-plus bodies are pulled from the rubble of a clothing factory in Lahore where shirts are sewn for wealthy westerners, to the tattered remains of an American flag on a still ravaged New Jersey coast line on the six month anniversary of Hurricane Sandy; these documentary images take us beyond a scrolling news flash on the bottom of a cable news show and ask us to look. To look and if we stop long enough to force us to stare for a moment; to question why.
Click though to The Daily Beast to see all the images for the week in pictures.
DAILY PIC: This photo of Jewish schoolchildren in the town of Mukacevo, now part of Ukraine, was taken by Roman Vishniac sometime between 1935 and 1938, when he was documenting the sorry state of the Jewish population in Eastern Europe – which was about to get so much worse. The image is now in his show at the International Center of Photography in New York. The exhibition makes clear how much Vishniak’s “simple” documentation owes to avant-garde art and photography from earlier in the century. That’s doubly clear when you look at the much straighter photojournalism by Chim that’s on view one floor up at the ICP, and that was done at precisely the same time. I have to admit that the stylishness of Vishniak’s vision helps sell me on his subjects – even though his Orthodox subjects often resisted the modernity he represents.
Like the 1930’s Russian version of Humans of New York.
Go anywhere awesome recently? We want your photos! Email us at firstname.lastname@example.org to submit.
15 female photographers explore femininity. Above is a photo by Hanna Putz:
In creating portraits of friends who had recently given birth to their first children, [Putz] noticed a remarkable shift in awareness. “Their attention is mainly on their child, and [they] are also in some kind of a transitional phase, as they are adjusting to the new role that has just been given to them,” said Putz in an interview with BJP.
Ten years ago, this could have been done and no one would have figured out about it. Social media makes work easier to steal—but it also makes the people who take it more accountable.
When DKNY mistakenly used some of Brandon Stanton’s (a.k.a. Humans of New York) photographs in a store display in Bangkok without his permission, Stanton found out thanks to a fan. Stanton asked for the company to donate $100,000 to the YMCA in Bedford-Stuyvesant, Brooklyn. The company has apologized and agreed to give $25,000.
Edmund Clark, Guantanamo: If the Light Goes Out
The Guantanamo detention camp occupies an isolated 45 square mile plot of land in Cuba, its complex a crucial point of cultural convergence amidst the war on terror. Edmund Clark’s project investigates Guantanamo through its influence on distinct notions of home: for the American community who reside in the naval base; the detainees incarcerated in its compound; and the former prisoners who now rebuild their lives in Europe and the Middle East.
From Clark’s statement on ifthelightgoesout.com:The series’ disjointed narrative aims to convey the sense of disorientation and dislocation central to the daily experience of incarceration at Guantanamo, and to explore the legacy of disturbance such experiences have in the minds and memories of these men. The viewer is asked to jump from prison camp detail to domestic still life; from life outside the naval base and back again – from light to dark.
Guantanamo: If the Light Goes Out opens tonight, and runs through January 12, 2013, at Flowers Gallery, in New York City.
A Tale of Two Holidays in Sandy’s Aftermath
It’s beginning to look a lot like Christmas, except in places ravaged by superstorm Sandy. While most people have recovered from the hurricane’s devastating winds and storm surge, pockets of New York and New Jersey are still reeling from the damage. Thousands have been displaced from their homes and lost everything with the storm. Yet, the extravagant holiday decorating continues apace in New York City. The Daily Beast looks at the disparity between the haves and have nots this holiday season.
Above, clockwise from top left:
Kathy Kmonicek / AP: A woman looks at a pair of jeans amongst the pile of clothing in front of Long Beach city hall donated for victims of Superstorm Sandy, November 6, 2012.
Peter Foley, Bloomberg / Getty Images: Women browse handbags at a Macy’s Inc. store in New York on Black Friday, November 23, 2012.
Mark Lennihan / AP Photo: Christmas decorations, salvaged from the charred remains of a home, are shown in Breezy Point, Queens, November 13, 2012.
Don Emmert / Getty Images: Christmas decorations are displayed at a Walmart store in Norwalk, Connecticut, November 17, 2012 .
Some powerful contrasts here.
The Path of Hurricane Sandy: New York & New Jersey
High winds, heavy rains, extreme tides, and even snow, the “Frankenstorm” crippled the East Coast, delivering an especially powerful punch to New York City. Millions were left without power, streets and tunnels were flooded, the city’s 108-year-old subway system was brought to its knees, and over 30 deaths along the East Coast have been attributed to the storm. The Daily Beast takes a look at the storm and its aftermath on its course from the Carribean through the East Coast.
Stay safe out there today.
William Klein & Daido Moriyama opening at Tate Modern
At Tate Modern in London, William Klein + Daido Moriyama starts tomorrow, October 10. The exhibition examines the relationship between the work of Klein, one of most important photographers in the 20th century, and Daido Moriyama, the Japanese photographer has made a radical impact on the photographic world by his Aré Buré Boké (grainy, blurry, out-of-focus) style. For more information about the exhibition, visit tate.org.
If you won’t be in London, there are two other exhibitions of Moriyama’s work currently on view in Paris and in Tokyo.
In Paris, Polka Galerie is currently hosting a three-part cycle of exhibitions dedicated to his work. Currently on view is Hokkaido-Northern, presenting Moriyama’s photography from Northern part of Japan in 1978, later revisited in color in the years since 2008. Cycle Daido Moriyama is on view through January 13, 2013, for more information, visit polkagalerie.com.
In Tokyo, BLD Gallery presents Labyrinth, a collection of Moriyama’s contact sheets, both original, as well as new collages combining negatives from the past five decades of his work. Out of all three of the above exhibitions, you will be the closest to the subject of Moriyama’s work here. After visiting the gallery, go to the Golden Gai bar district in Shinjuku, his favorite part of town. After a few drinks in the tiny bars, you too may experience Daidio’s Shinjuku as he revealed it in his works.
The above gallery features work from the William Klein + Daido Moriyama exhibition at Tate Modern.
Labyrinth is also available as a book published by Aperture.
Daniel Etter: Witnessing Syria’s Descent Into War
During the last 15 months I have traveled to Syria again and again. I witnessed a small glimpse of the country’s descent from a largely peaceful uprising into a full-scale civil war.
What seemed to me at first a hopeful struggle for change has turned into a violent deadlock. August was the bloodiest month in Syria so far. With more than 4,000 civilians dead, the human toll exceeded that of the deadliest month of the war in Iraq, which was already ten times higher than the deadliest month in Afghanistan.
A morning airstrike—lacking an obvious noncivilian target—hit a neighborhood in Aleppo, on August 23. Here, Syrians in the Shaar section of the city watch the attack.
The rebels fight with Kalashnikovs, rocket propelled grenades and home made bombs against the government’s tanks, helicopters and fighter jets. What the rebels lack in firepower, they have in manpower, courage, motivation and sometimes a disregard for their own physical safety. Neither side seems to have the power to decisively turn the tide against the other.
With every passing day, the conflict has become increasingly sectarian. Except for a very small number, the rebels are Sunni Muslims from Syria’s poor and disadvantaged countryside. Religion serves as a unifier and was the only hope that promised justice under a corrupt regime.
In the Tareeq al Bab area of Aleppo on August 24, election posters of Baath Party members have been torn.
Today, even more secular rebel outfits use religious symbols. They grow beards and fly the black flag of jihad to attract money from conservative Muslim donor states. Jihadists from the United Kingdom, Libya and Pakistan have joined the ranks of the fighters. Though relatively few, they play into the government’s narrative of a foreign, Islamist conspiracy against Syria.
On the other side you have Alawites, Shiites, Christians and countless other minorities that side with the Syrian regime—not necessarily because they support it, but because they fear what might come if the rebels win. President Bashar al Assad has projected an image of himself as a protector of minorities and interreligious peace. Partly because the largely Sunni opposition has failed to reach minorities, for many Syrians he has become exactly that.
Working as a journalist in this environment has proven difficult and dangerous. Many of our colleagues lost their lives. Some were foreign reporters, but most were Syrian. One of the last was Tamer al Awam, who I met in Syria in a makeshift refugee camp close to the broder with Turkey in June 2011. We spent some time working alongside, and we connected because we both called Germany one of our homes. I was not aware that he started working in Syria as a filmmaker until activists changed their profile pictures on Facebook to his portrait and announced his death in Aleppo. According to activists, he was hit by shrapnel during sustained army shelling of opposition forces.
Aleppo has been one of the most challenging stories I have covered so far, frontlines shift within minutes and jets strike anywhere in the city no matter if there are military targets or not. There is no secure place for civilians in the parts of the city held by the rebels. The government’s message seems to be that you either fight on their side or you pay the price for the rebel’s actions.
A family walks through the Tareeq region of Aleppo on August 25, 2012.
But it is not only the security situation that proves increasingly challenging. The opposition was in the past desperate for journalists to cover their plight, but with critical reporting on their actions, such as human rights abuses and religious radicalization, they are slowly becoming unwelcoming towards reporters.
A school in the Aleppo region shelters approximately 150 refugees who have fled local violence. Here, a mother holds her newborn infant on August 13, 2012.
If I as a photographer had to choose one of my images to sum up the conflict, it would be the tattooed rebel prisoner. He has the ruling Assad family inked on his chest like a holy trinity. The late Hafez al Assad in the middle, his two sons Basil and Bashar on the side. For the prisoner, an alleged government militiaman, they used to be the only legitimate rulers of Syria. When the rebels entered Aleppo, he surrendered, screaming “I give my blood for the Free Syrian Army!” and cut the Assads’ images out of his chest with a dirty razor knife.
He told his story under the watchful eyes of a prison ward, so there is no way to be sure that he did not make it up so not to anger his jailers. But no matter who inflicted the cuts in his chest and tried to erase the Assads, the wounds might get infected, they might heal—but they will be visible as long as he lives. The bloody conflict continues. I do not see an easy end to it. But hopefully, a future generation will overcome the pain and the hate that the wounds cutting through Syria inflicted.
— Daniel Etter
View more from Daniel Etter’s Witnessing Syria’s Descent Into War at The Daily Beast.
i know this stretch of road leading to the airport. i love driving under the planes as they land. then stopping at in-n-out. animal style, duh. anyway, cool pic bro.
LA-LA LAND-ING The space shuttle Endeavour, perched atop a specially-modified NASA 747 jet, approaches Los Angeles International Airport last week. The retired spacecraft will be towed to its new home at the California Science Center. (Photo: Stephen Confer via NASA APOD)
L.A. is a weird place.
80th Anniversary of ‘Lunch Atop a Skyscraper’
One of the most recognizable American images of all time, ‘Lunch atop a Skyscraper’ was photographed by Charles C. Ebbets on September 20, 1932. Photographed 800 feet above 47th Street in New York City during the construction of the RCA Building at Rockefeller Center, the image is now a part of the Corbis Images-owned Bettman Archive.
To celebrate the anniversary of the iconic of the image, Corbis produced a charming interactive guiding the viewer through the era of the 1930s America using the Bettman Archive - Lunch In The Sky.No one knows the true identity of all eleven men, but it’s certain they were part of the new generation of Americans, descendants of late 19th century European migrants.The half-built edifice on which they precariously balance is the RCA building, tallest of 14 art deco skyscrapers in the complex. When the image was first published, New York was undergoing an Indian summer and Wall Street was at its lowest level, with unemployment at 24 percent.