Photo Essay


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This week’s photo essay feature is by guest photographer Joe Stevens with his picture series, “Vans and the places where they were.” Best viewed full screen.

In the US, custom vans are culturally significant because in their heyday of the 70’s and early 80’s they provided young people with the freedom to go anywhere while bringing along the conveniences of home. Many rolled off the assembly line unfinished as a blank canvas, giving the drivers the opportunity to personalize their vehicles in whatever manner they chose to express themselves. Vans of the era sometimes sported elaborate stripe motifs and wildly customized interiors and the “vanners” developed reputations for lewd and wanton behavior.

Years later, this project examines the juxtaposition between the surviving vans’ visual aesthetic and that of the surrounding architectural and natural elements, and asks us to consider whether that has occurred consciously, subconsciously or as a result of pure chance. Sometimes I am drawn to situations which suggest that perhaps the driver chose this arrangement on purpose or it seems as if the van may have somehow chosen the arrangement itself. I am also drawn to instances where the arrangement creates conflict.

I suppose the answer will come with each individual’s reading of the images. Clearly there is pride which comes with owning something which is unusual and one of the last of its kind. In cases where the vehicle has been customized by the owner it presents a glimpse into that individual’s personality and evidence of the human compulsion to turn something which was stamped out on an assembly line into something which is more strongly indicative who we are. Whether or not we might describe it as such, each of us makes hundreds of art-direction choices every day. This project asks whether something as seemingly mundane as choosing a parking spot is actually one of them.

During the time I have been shooting this project the vans themselves have become more and more of a rarity. The reasons are as simple as rust and as complex as government “cash for clunkers” initiatives encouraging more fuel-efficient transportation. Most notably – at the same time the vans have been disappearing from our roads – film photography as a visual medium has also begun it’s slow death. Consequently the goal of the project is to one day shoot the last remaining van on the final frame of photographic film in existence. Then the project will be finished.

Joe Stevens is a filmmaker and photographer from New York City.

http://californiavans.arloartists.com/



Photo gallery created from several NPAC Members who photographed the events surrounding the G20 summit, which occurred during June 25-27, 2010 in Toronto, Ontario. Most of the images are from the protest events between anti-G20 protesters and riot police.  Photos included by: Lars Hagberg, Khush Bhandari, Melissa Tait, Ian Willms and Warren Toda.



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For some professional women, the choice to take a break from their careers and devote more time to their families and themselves can be rewarding. But such a major lifestyle change can incur feelings of resentment and a loss of identity of being, “just a mom.”

This portrait series was shot for The National Magazine, in Abu Dhabi, UAE.
Bio
Philip Cheung is a Canadian photographer focusing on documentary and portraiture and is based in Beirut, Lebanon. Since 2007, Philip has been based in the Middle East, and has worked extensively in the region on commissioned and self-initiated projects.
In 2010, Philip was selected as an emerging photographer by the Magenta Foundation and was also awarded by: PDN Photo Annual, American Photo 26 (selected), Communication Arts Photo Annual, Applied Arts Photo Annual, and the News Photographers Association of Canada. He was also selected to exhibit his work at the 2nd Lumix Festival for Young Photojournalism in Hannover, Germany.
Some clients include: The New York Times, The Wall Street Journal Magazine (Europe)The Guardian Weekend Magazine,
The Independent Magazine, Monocle, GQ Magazine (UK), Le Monde, The Guardian newspaper, Conde Nast Traveller, Macleans, NZZ (Switzerland), Das Magazine (Switzerland), The National Magazine, Report on Business, Getty Images, Corbis, The Globe and Mail

www.philipcheungphoto.com



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This week’s feature is by guest Photographer Jan Sochor. A freelance photographer with a focus on documentary projects in South America.

The Nukak Maku people, a nomadic indian tribe from Amazonia, were violently driven out of the jungle by the Colombian guerilla and paramilitary squads. Since the time of the first contact, more than a half of Nukak have died of the western diseases like flu. Now, roughly cut off from their original tribal lifestyle in refugee camps, they are stuck between worlds. They learn from the , mainly Christian, aid workers to use clothes, to listen to the radio, to beg for money despite the fact they do not understand these concepts. Although their digestion suffers they love to eat sweets, cookies and other western food. They have hunted out all the animals around and now there is nothing left for them. Nukak can not return to the jungle, their world has already passed through an irreversible change.

Bio

Jan Sochor, freelance photographer. He was born in the Czech Republic but he is changing his base between South America and Europe frequently, he lived and worked in Chile, Colombia, Costa Rica, Spain and the Czech Republic in the last five years. America has become a major theme for him since then. He focuses on documentary projects trying to show and tell about Latin America, its everyday life, social, political and cultural issues. His photographs and stories have appeared in numerous Czech and international magazines, newspapers and websites, including Sunday Times, National Geographic, Reuters, Burn magazine, Foto8, 100Eyes, UNESCO, Boston Review, PDN online, NACLA Report, Adbusters magazine, The Vienna Review, Czech Television, Reflex, Instinkt, Koktejl, Xantypa, MF DNES, Hospodarske noviny.

www.jansochor.com



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“Bolivia vs. Bolivia “ Bolivia’s cracking political fault line.

Two important dates have been scheduled in Bolivia that could have major consequences for the shape of the country, not just political but also regional. The Dec 4th presidential elections, and the July 6th autonomy states referendum. These dates highlight a continued growing rift amongst Bolivia’s socio-economic classes.

The upcoming Dec 4th elections are a direct consequence of growing popular uprising amongst mainly indigenous workers and poor peoples. In June of 2005, then president Carlos Mesa became the second president in just over two years to be forced out of office by mass protests. Upset with Mesa’s, decision to sell off gas reserves at very low prices to the U.S via Chile, massive protests shut down La Paz through organized mobilizations by several groups that included miners, coca-farmers, and peasant collectives. Protesters demand total nationalization of gas and hydrocarbons existing in Bolivia; they see it as a way out the abject poverty they face.

Carlos Mesa came in to power after the first ‘gas war’ ousted then president Gonzalo Sanchez de Lozada in October 2003. For almost identical reasons Lozada’s attempt to export natural gas cheaply to the U.S via Chile, protesters mobilized and forced his resignation. Promptly after his resignation Lozada fled to the U.S and is now in exile.

Bolivia is South America’s poorest nation with over 60% of it’s population being indigenous. Many earning less than 1$ dollar per day. Growing cohesion amongst poor populations have galvanized into potent protest instruments for massive change. Fearing these developments the wealthy influential elite of Santa Cruz (crucenos) have called for a referendum that would cut off the state from the rest of Bolivia.

Under the U.S drug war coca production has been substantially eradicated. Coca has been grown in the region for thousands of years and has been a staple in the economy of indigenous populations. Known as cocaleros these farmers have a very strong following amongst poor Bolivians. The current leader of the left is one such cocalero, Evo Morales who has become increasingly popular amongst Bolivians who feel that the neo-liberal policies enriched the already wealthy and have done nothing for the poor to alleviate their oppression.

Bio

Dustin Leader is a photographer living and working in Winnipeg. In 2006 he was awarded First Place in the News Photographers Association of Canada Picture Story category. In the same year he won a Country Music Award for his photographs in the Doc Walker album.

He was also nominated for the Joop Swart Masterclass in 2005, which he didn’t apply for but that’s another story ;)



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While still working as newspaper photographer in the Brazilian city of Porto Alegre, I visited a recycling plant to photograph a story about the effects of the recent financial crisis, effects that at the time were still not being felt.

The plant was located in a big old building falling to pieces. Inside no more than a dozen workers did all the work, hard work. They dealt with materials like cans, metal parts, plastic bottles and cardboard boxes; selecting and compressing them into large cubes that would be sold to different industries to be re-used. The materials that we as consumers regarded as useless were the main source of income for those workers.

Three months later when the newspaper sent me there again for a story on the effects of the crisis, that at that point were already evident, I decided to develop a personal project on them. The recycling material market in the region was being hit hard by the economic chaos that took hold of the whole world. The price of materials like cardboard, tin and plastic had fallen by more than 50% due to the decreased consumption and 15% of the workforce of the recycling plants in the region  was expected to be laid off.

The prospect of improving economic conditions was low and the future for those workers was not very appealing. They have little or no formal education and their chance of finding another job was extremely poor. In a social environment where drug dealing and crime may be the only alternative to overcome misery and hunger, the fact that they were working is a personal victory for each one of them. That recycling plant provided them with the best chance of giving their families a better life.

Bio

Eduardo Lima de Oliveira was born and raised in Porto Alegre, southern Brazil. He has a BA in Journalism and his work has been published by the main Brazilian newspapers. Eduardo has always been passionate and curious about other cultures and that pushed him to travel abroad. He had the opportunity to live in Europe and Southeast Asia and he has recently immigrated to Canada. He lives in Toronto where he is attending the Documentary Media Master of Fine Arts program at Ryerson University.

http://www.eduardophoto.com.br



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A girl gangster from Los Angeles, a Filipino skateboarder estranged from his father, an alcoholic Metis battling his demons and a strong-willed Latino woman known to her friends as Big Momma— on the surface, they are four people with very little in common.

But there is one thing they all share: a home.

At Touchstone — or “Touch,” as it’s often called — most of the residents are not yet old enough to legally buy beer but are already battling drug or alcohol addictions. Many have yet to reach voting age but have already experienced violence and death. Some are in their teens but already raising children of their own.

On almost any given day, there are 32 homeless youth – age 16-24 – living between Touchstone’s four walls.

Cheol Joon Baek is Toronto-based freelance photographer, originally from Seoul, South Korea.



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