Category Archive: funding
A few months ago, at a Belgrade photo night called Periskop, I saw Marija Janković present one of her new projects about her time as a patient at a Serbian maternity hospital, which she calls GAK. The first time I saw this work, with Serbian text, I could only really react to the photographs and the audience around me, who were often left gasping. After the event she told me the project would soon be available on her new website with English captions. I found the quotes she paired with the scenes she had photographed to be extremely compelling. They added a fascinating depth to the reportage and made me think of a slew of questions about the project and the hospitals themselves. Janković has generously agreed to publish the complete series GAK here on dvafoto and to answer some questions about her wide-ranging projects.
I’ve long admired Janković’s approach to her work and the novel ways of framing some very serious topics in Serbian history. I’ve known Janković for a few years but we had not had the chance to have an in-depth conversation about her work and what she was accomplishing. It is my pleasure to present this interview with Marija where she elaborates on GAK and some of the other projects she has completed in her career. Visit her website www.marijajankovic.com for these and many more projects.
dvafoto: Where are you from and what is your background? How did you come to be a photographer?
Marija Janković: I grew up in Sombor, a small baroque, multiethnic town in [the Serbian province of] Vojvodina. Before the WWII, four large ethnic groups lived together in this quiet little town. Now there are two, plus the minorities. My father was from Kosovo and this mix was important for my future work.
Visual art is pretty much all I ever wanted to do in my life. I went to a design school, than I studied painting. I quietly painted still-life until the day in 1999 when the bombings of Serbia started [ed: the NATO bombing of Yugoslavia]. It was the first time I experienced fear for my life. The involvement of the media was shocking to me. I thought that the news was supposed to follow the events, not to create them. On one side there was the Milosevic’s manipulated news, on another, the Western manipulated news. From that moment, there was two ways: close your eyes or get involved. I chose the second. I wanted to understand how the media machine looked like from inside. And I also got my first decent camera, so when I had to make my living, working in the newspapers was the solution. And I loved it, at least at the beginning…
Some of the work on your work on your new website is classic reportage, and other projects are very conceptual, featuring dioramas and models. Do you work on both of these sorts of projects simultaneously? Or do they represent different periods of your career?
If there were only two… hahaha. It’s a parallel work, sometimes more conceptual, sometimes more photojournalistic. Sometimes conceptual becomes documentary, and reportage artistic. I had, for years, worked in the press in a more traditional way (and I still do). I noticed that there are some patterns on how to make a good picture for publishing. Once I learned how to do it, I got bored. To me it was more interesting to do things differently. Unfortunately, at least here in Serbia, there is little space for that. But if I am touched by something I’ll do it, published or not. And then I decide about the approach. Not being under pressure of publishing gives you a beautiful freedom. But it also means that you will work on some other creepy, non-creative photo job to support yourself.
What do you see as the difference between these two ways of working, and why do you choose one approach over the other? How did you first come to make set-up scenes for your pictures?
When stock photography became hysterically popular I thought to join the crowd. In my shopping basket for the set I just dropped the bag of cheap plastic soldiers; it was a strong symbol to me. Back in the studio I made a salad spiced with figurines and I was suddenly in the war zone. [ed: see Janković's War Story]. Pictures from the front line followed me from childhood and in 1999 I made collages with pictures I found in newspapers from the war zones around the world. I got a wish to make my war material but I was aware that, despite my wish, I will have little opportunity to go and cover one. So I created my own. That way I could be critical about whatever I wanted. As I said: freedom.
From the series “Bor” by Marija Janković
Did you feel there were limitations in the traditional reportage you practiced before? Are there freedoms that you are able to explore with these studio photographs? Do you consider them documentary? Either if so or if not, is that label important to you?
Two of my stories (Staro Sajmište and GAK) would be impossible to make as a classical reportage but they are based on true stories. Sajmište happened 60 years ago and many people photographed the actual place, or wrote historical essays or books. For me it was important to show the feelings of the victims and not only the political background. This is how I chose testimonies of survivors, to give them a second life. During the process of making every picture, besides double-checking facts, I had to ask to myself “Who am I in this story? Am I a victim, a reporter, a German soldier or a simple citizen?” As a matter of fact, there are only few original pictures from the time of the camp and none from the period when it was the “Judenlager”. But we are aware that the Germans made pictures and movies. In the way I tried to make the missing pictures. Later I found only one single picture of the “Semlin Judenlager” in the archives of the Novi Sad museum.
Also GAK wouldn’t have been possible as a classical reportage. No woman would tell these things with a camera or a microphone pointed at them. Because I was a patient, without camera, in the intimate atmosphere, women shared to each other their life stories. Gynecological hospital is like a micro extract of our society.
Now we see all the fantastic work from photographers reporting from Kiev. I must admit that I would like to be there, I love the adrenalin of the protests and teargas. I did cover protests in Serbia, but we all know how classic photojournalism can also be manipulative.
Labeling… I couldn’t care less. If somebody needs labels they have all the freedom to attach some to my work but I don’t start my project by giving them this kind of definition. I begin with the problem.
Your work takes on some very complicated and occasionally sensitive topics, such as concentration camps, the destruction of a mining town and loss of the German community in Vojvodina. What motivates you to photograph these stories?
In Serbian society many historical topics are either forbidden or rewritten and people tend to go with the mainstream flow. Nobody ever told me what happened with the Germans after WWII. First, it was dangerous to speak. Then people forgot that thousands of German women and children were kept prisoners by the Partisans in camps in ghost villages in Vojvodina. Thousands died from hunger, cold and diseases. That story was challenging. Many of these German men, husbands and fathers, committed crimes, but we tend to generalize. Women and children were not guilty. It can sound naïve, but I’m often driven by the simple feeling of “justice for everyone”. Some of this motivation comes from the feeling of guilt for the crimes that the Serbs committed, against the will of many Serbian citizens.
Across the body of your work I feel there is a very thoughtful and determined confrontation with certain areas of Serbia’s history that I don’t see many other artists or photographers tackling. Do you in any way see all of the series you’ve published as part of a single, larger narrative? And why do you focus on Serbian stories rather than regional or global issues?
I don’t see Serbia as a very happy or healthy place. It’s country with a constant problem of finding its place and direction. For example, you can’t be a patriot and in the same time say that your people committed crimes. I think opposite: first as a citizen, and then as a photographer. But no matter how much I’m stressed about many things in Serbia, it’s my country and my people and I wish them well. I would like that the Serbs know their history better and that Serbian women (and all other women in the world, for that matter) have better conditions, more human rights, more jobs and better work conditions. I traveled around the region and in Europe and made some good pictures, but there are still a lot of topics to be covered in Serbia. I’m sure that the female stories are similar in the whole world but I think we should start with what we know the best. And experiment.
Are there other artists, from Belgrade or the region, that you look to for inspiration or camaraderie?
Ten years ago I was more inspired by my colleagues work than nowadays. Many of them are good friends and I love to see their work, but at this point I have the feeling that I walk alone. Working with dolls is not my invention. Dolls are a universal symbol and inspiration to many artists. There is always something traumatic about these replicas of humans. However my recent work is more appreciated by my colleagues abroad. I don’t inspire myself just with photographs. Books, fine art, music, daily life and news, global news… All this make us who we are.
I see your latest series GAK and your photograph “Original and 52 notarized photocopies, 2012″ as a direct and logical continuation of the investigations that you completed in your earlier work. But it is much more personal. How has your work lead up to these projects? Do you feel better prepared now to document your own life and the people around you?
In the past few years I went through some difficult personal times. It’s not accepted today to complain, or to be weak. We should be up to every mission all the time, but we witness many complications due to unresolved personal problems. Domestic crime is very common in Serbia. I love the stories that nobody else talks about. I did it in my name and the name of other troubled women. Putting yourself out there is much more difficult than photographing hooligans (this is my artistic side). “Original and 52 notarized photocopies” was very popular in the Serbian media; it became a symbol of bureaucracy. It’s my baby on the picture and my documents, but the problem is universal, and concerns the whole region. During pregnancy, instead of working, I had to spend time collecting useless documents. If I had found that story and those documents somewhere else I would have used it. But one day I just realized that I am the story and the reporter in the same time. Hahaha.
“Original and 52 notarized photocopies” by Marija Janković
As a man – therefore not a patient – and as a foreigner who does not speak Serbian well, I cannot conceive of having any access to the stories of these women in a gynecological hospital if it was not for your reporting. The anecdotes and quotes struck me because of their very distinct and uncomfortable voice, I suppose because they are phrased in such a frank and unguarded way, overheard and not polished for quotation. This, coupled with your photographs of a dirty model of a hospital filled with ghoulish nurses, makes an interesting approach to reportage.
How did you come to conceive of this way of telling this story? Did you consider other more traditional approaches? What advantage (as I was asking above) did you see in telling the story with models and quotations? Do you see any disadvantages with presenting this story in this way?
As I mentioned above, I didn’t set out to make “GAK”. It wasn’t a situation where I made a decision and strategy, like we do for the stories. I was kept [in the hospital] in a t-shirt, with a dying mobile phone, and one notebook. During the next 5 days I was surrounded by sensitive women talking about their deepest secrets and fears. Two weeks after I found the notebook, it clicked together. I was just open to see it. Now, finding a text for this kind of work is difficult. Also, if I imagine the same text with the portraits of those women, it would be less strong. It’s like a painting of a shoe by Van Gogh; it’s much more exciting than a pair of real shoes.
I have my “test audience”, my closest friends and colleagues and I send them the projects to get some feedback before I publish more sensitive things. Most women replied “I can donate you a story!”, and men: “I didn’t know, I feel sick, great work but I can’t look at this twice”…
From time to time we read reports about hospitals and what is noticeable is that people react more to some dodgy pictures that patients made themselves with their mobile phone. You need to be extremely upset to take things in your own hands. 99% of these women accept with resignation these conditions, saying “What can I do?”
How would you like this project to be received? Is there any advocacy present in this project, for example to challenge for better conditions at your hospital?
Once I got the same question (referring to Original and 52 notarized photocopies). My answer then was “Yes, it would be nice to see somebody change something”. Today I am more realistic. I don’t think somebody will see those pictures and say “She is right, we don’t need form 227/b. II” or “We should order nurses to be nicer to patients”. But it can always serve as a support on the level of “woman to woman”, or help in reaching a critical mass of complaints where things need to be changed. It’s a job for all of us to make some pressure.
Are you continuing to photograph your family? Does this project mark any turning point in your work?
Becoming a mother is a turning point, now all I do is photographing family. I’m less prepared to deal with heavy and dark stories, or to run towards burning buildings to get more dramatic shots. At least at this moment. On another hand, I want a better environment for my child, so I will continue to challenge this absurd but well established social structure.
Thank you Marija.
Alan Chin is currently running a Kickstarter campaign for his new project Toishan, China: Another Home 8,000 Miles Away. Chin’s project will take him back to his family’s home in the Toishan region of China, an area that is undergoing rapid development since his first visit in 1989. The fundraising campaign will run until October 28th but we are happy to report that Chin has already exceeded his initial goal. Congratulations to him, but the project is still worthy of support and we hope that with further fundraising he will have more time and flexibility with the project, something every photographer would dream of.
Chin answered a few of our questions about the new work, and I also encourage you to have a look at Chin’s Kickstarter video below and his fundraising page for more information about his plans for this project.
Tell me something about the region of China that your family comes from? How many times have you visited the area?
Toishan (or Taishan in official Mandarin Pinyin romanization), is about a hundred miles from Hong Kong and Guangzhou. Two-thirds of all Overseas Chinese immigrants to the United States came from the greater Toishan area, until the 1960s. Today, Chinese-Americans hail from diverse regions in China, especially from Fujian, but for a hundred years that was Toishan.
I first visited in 1989, when I was eighteen years old. I was there again in 1997 and then many times in 2008 and 2009.
Do you still have family in Toishan that you are in contact with?
My last close relative was a great-aunt who died in 2009 after I saw her for the last time in 2008; I still have more distant cousins that live in the village.
What is the relationship between this area and Chinese-American communities, particularly in New York? Is immigration from this region still prominent?
Starting in 1965 with LBJ’s immigration reform to reunify families (as important a piece of landmark legislation as Medicare or the Civil Rights laws), the Chinese-American community expanded tremendously. And as the Cold War ended, commercial and diplomatic relations improved between China and the US. Individuals began to travel to-and-fro with much greater ease and frequency. Toishanese continue to emigrate abroad, but now are one of many Chinese clusters rather than the majority. The old part of New York’s Chinatown in Manhattan, dating from the late 19th century, was originally Toishanese and remains predominantly Cantonese. (Toishan is part of Guangdong, the Cantonese province.)
Are you going to be documenting Toishanese communities from both countries with your book?
Yes, but the emphasis is on China, on where we come from.
How do you plan to use your family’s photographs in this project? What are some of your favorite photographs in this collection that will help tell the story?
I will use some of my family photographs to track our specific history, which is typical of so many families. The oldest photograph we have is of my great-uncle, Sing Chin, who emigrated to Cuba in 1927 and then the US in 1935. The photo is a formal studio portrait from his time in Cuba. It shows him in a tropical suit, and he was younger then than I am now. I think it will help show just how transformative the 20th century was in its global impact of revolutionary change.
My favorite photographs? That’s too hard a question to answer!
Click image above to start Chin’s video about the project
Valentino Bellini wrote to us recently to share his new project BIT ROT, about the troubling issue of electronic waste worldwide that results from “rampant consumerism” and products that are “designed for the dump”. We really enjoyed the photographs and the story he was revealing to us, so we asked him to answer a few questions about the project. His responses were fascinating and we are happy to share his work.
Bellini is looking for more support to continue his project, and you can donate through the BIT ROT Project’s Support page on the project’s dedicated Tumblr.
Dvafoto: Where are you from? How did you come to photograph this project?
Bellini: I became interested in photography about 4 years ago when I moved from Palermo, my hometown, to Milan, where I attended a course at the annual CFP R. Bauer (a public photography school). Immediately after I graduated I started working at the LINKE. lab which offers various services for photography including fine art printing, post production, mounting and realization of photographic exhibitions.
During the first two years of my stay in Milan, during times when I could go back down in Palermo I started working on a photographic project about the Ghanaian community of Ballarò, a neighborhood in the historic center of the city. I’ve known several young Ghanaians with whom I have a great relationship now, this was probably the main reason that push me to visit Ghana in April 2012. Once in Ghana, among other issues, I had the opportunity to visit and photograph the e-waste dump of Agbobloshie, where I discovered the terrible world regarding the trafficking and disposal of e-waste in developing countries. (Ghana is probably the African country, along with Nigeria, where the flow of electronic waste is the growing fastest).
How are you doing the research for this work? Where are you traveling to to make the photographs?
I’ve got the opportunity to work with some guys from a Ghanaian NGO that works to improve the living conditions of Ghanaian children. After our first visit we jointly launched special projects addressed at all those young boys who work in Agbobloshie e-waste dump. From that experience, from the contact with those people, I felt the need to investigate this issue and to develop the project in other countries and on different levels of investigation. Then I continued in the last months, visiting Pakistan and India.
The project is now at a very important stage. Very soon I will visit China, the country with the highest numbers for import of e-waste from abroad, and also for domestic production (China is second only to the United States for the production of electrical and electronic equipment, and of course, this also increases the amount of electronic waste produced and disposed of). The project will then continue investigating other methods of waste disposal and recycling, including more green and sustainable methods implemented by world leaders industries in developed countries in Europe and the United States (in this series there are already images produced in two facilities of companies that do this kind of work, authorized by the government and in a clearly legal way, in Tamil Nadu, India).
I will focus also on those places that represent the cathedrals of the consumerism world, the places where the “induced” need is generated, the places that are fathers of all the problems mentioned above.
Are you being supported by any grant or other funding to work on this? What is your goal for how to present this work, where will it be seen?
This project was started by a very personal experience, and is currently funded, with many difficulties, all by myself. At the moment I’m in contact with several international magazines trying to get this first part of the work published, in order to collect funds to continue the project.
In parallel with the classical editorial channels, I also launched a website dedicated to the project, through which I have implemented a funding campaign, hoping that this will help to raise funds that will enable me to move forward in production. In addition to thinking about photographic exhibitions in the international photography circuit, one of my primary goals would be to be able to bring the work with some exhibitions, in very rough shape, in the same places where the photos were taken, inside the dumps, in the districts in which the disposal takes place. It would be a way to give back the work to those who are directly protagonist, as well as to try to sensitize the communities themselves who inhabit those places, which, much to my surprise, they are often not even aware of the problems that this kind of processes can create for human health and for the environment. For this I’m working with the guys at Ghanaian NGO and with other realities that slowly I also met in other countries I have visited.
What have you learned about electronic waste and its relationship with the culture of consumers of electronic products?
Concerning the flow of electronic waste and their disposal, it is definitely a very complex phenomenon that is constantly changing and very, very quickly. It is important to emphasize that the issue of waste disposal in some countries in the developing world (see Pakistan or Ghana) has two different aspects. Employment shortage and continuous internal migration stream which can be observed for several years now, especially among the younger population ranges, from rural areas to urban centers, makes an occupation such as the disposal of electronic waste particularly desirable, as it ensure at least the possibility to earn a little amount money, just enough for daily survival, condition, however, still difficult to reach among the poorest segments of the population.
On the other hand, the import, though often illegal, of electrical and electronic waste from Europe and the United States, has contributed in some way to improve access to certain types of technologies by those same poor people. In Pakistan, for instance, until a decade ago, for the vast majority of the population was almost impossible to buy even a television, let alone a computer. In this sense this illegal flow, it is always good to remember, gave to some people a new access to different forms of culture (like internet) that were not remotely conceivable a few years ago. The production of electronic waste today is the fastest growing waste stream in the world, UNEP (United Nations Environmental Program) estimated that in the coming years could grow up to 500%, especially in those countries where the domestic electronics industry (countries like China or India) is experiencing a period of exponential growth.
What is sure is that this issue is caused by a system. The Western system (whose differences with other cultures such as those of Asian or African countries are decreasing) increasingly is dominated by rampant consumerism. A system in which the value is not intrinsic in the object we buy, as in the possibility of being able to display it. This is also reflected in the project guidelines adopted by production houses of electrical and electronic components. The term “designed for the dump” expresses this concept very well. Producers prefer to build products that will have a short life and will be difficult to repair, so as to impose on consumers a continuous supply of these tools, producing huge amounts of waste that regularly end up on the other side of the globe illegally, and which is disposed of in a harmful way. Probably the way to try to break down the problem is to make the producers responsible, forcing them to implement more sustainable production lines (and consider that some electronic components release harmful substances, although in small amounts, throughout their life cycle). For sure we must rethink the legislation, both locally and supranational, to preserve tools like the Basel convention, one of the few mechanisms to control the international movement of toxic waste, including from electronics. For example, these rules are continuously circumvented by exporting second-hand items to developing countries, as a way to reduce the so-called digital divide.
A big job of responsibility will also need to exist in these communities disposing of the waste, to make it clear that this work is destroying human health as well as the surrounding environment.
This was a very interesting year for me, definitely the busiest since I moved to Belgrade, Serbia in February 2009, filled with lots of travel and some interesting assignments. Notably I had the chance to visit Africa for the first time, on assignment in South Sudan, and received the Burn Magazine Emerging Photographer Fund Grant for my ongoing project “Only Unity”.
I started the year in England, then was in Sarajevo for a story about the 20th anniversary of the start of the war there. My mother came to visit me in Belgrade in April, but our trip was interrupted by Presidential elections in Serbia, which I covered for the Wall Street Journal. That assignment led to one of the strangest days of my career, when I photographed both Serbian President Boris Tadic and former NYC Mayor Rudy Giuliani hours apart in the same TV studio (see the WSJ article about Giuliani in Belgrade).
Soon after I was documenting the destruction of the Belville Roma settlement. My friend Darko Stanimirović and I handed out disposable cameras to residents of the camp so that they could document the eviction themselves. We published a multimedia piece at Newsmotion.org with these community pictures alongside Stanimirović’s audio recordings, a text by Alan Chin and some of my pictures as “The Sound of Barking Dogs: The Eviction of the Roma from Belville”.
In September I was in South Sudan reporting a story about the future of the Jonglei Canal and the issues of water rights for the youngest country on the planet. The project was commissioned by Austrian magazine 2012, an interesting one-year-only magazine published by Red Bull Media House. I have included a few images from the project here, but for now the only other pictures online are the tearsheets from ’2012′ which you can see on the clips section of mattlutton.com.
I also spent a total of four months in the United States, and was able to finally visit the area of the former Republic of Serbian Krajina in Croatia to document the remnants of Serbian life there. I was invited to be on the jury of the Organ Vida international photography festival in Zagreb, and was a speaker and juror at the “Foton” Makarska Photo Days Festival.
The biggest news of the year for me though was the Burn Magazine Emerging Photographer Fund Grant, which I received in June for my project “Only Unity”: Serbia In The Aftermath of Yugoslavia.
The response to the project has been very exciting, and I’m eager to finish the work this year. If you would like to know more, have a look at one of the interviews I did last year following the announcement: “Award-Winning Project Documents a Fractured Serbia” with Pete Brook at Wired’s Raw File blog, “Picture Story: Holding up a Mirror to Serbian Nationalism” in PDN Magazine (subscribers only unfortunately, see what it looked like in print here), and my chat with fellow EPF-finalist and friend Ian Willms on “BOREAL Spotlight: Matt Lutton, “Only Unity””.
Thanks again everyone for continuing to follow Dvafoto and supporting all of the photographers we feature here. I wish you all a fun and successful 2013!
In 2010, fifteen young South-East European photographers and three masters met in Berlin for the SEE New Perspectives masterclass, organized by World Press Photo and Robert Bosch Stiftung. After the first meeting in Berlin all of the photographers were given a grant to photograph a story within the region but outside of their home country.
The resulting projects are now being exhibited in Belgrade, Serbia (on display until December 14 at the ARTGET gallery on Trg Republike) after debuting in Sarajevo, Bosnia and Herzegovina in October. The show will soon move to Zagreb, Croatia and Berlin, Germany. The exhibition features an interesting concept of displaying oversized “magazines” each devoted to one photographer’s project, with only one image from each project along with the photographer’s name on the wall.
You can see all of the stories produced in the masterclass on the SEE New Perspectives website as well as more information about the organization of the project.
The photographers are:
Andrei Pungovschi, Romania
Armend Nimani, Kosovo
Bevis Fusha, Albania
Dženat Dreković, Serbia
Eugenia Maximova, Bulgaria
Ferdi Limani, Kosovo
Jasmin Brutus, Bosnia and Herzegovina
Jetmir Idrizi, Kosovo
Marko Risović, Serbia
Nemanja Pančić, Serbia
Octav Ganea, Romania
Petrut Calinescu, Romania
Sanja Jovanović (née Knežević), Serbia
Tomislav Georgiev, Macedonia
Vesselina Nikolaeva, Bulgaria
And the Tutors are:
Regina Anzenberger, Austria, artist, curator, photographer’s agent, gallerist
Silvia Omedes, Spain, president at Photographic Social Vision Foundation
Donald Weber, Canada, photographer VII Agency
I asked my old friend Jasmin Brutus, a Bosnian photographer who was part of the masterclass, to paraphrase the statement he gave at the Sarajevo opening which expresses his feelings about the years-long masterclass project: “We [the participating photographers] all returned with nice small toolbox which our employers will never know how to utilize. So, I think experience in the masterclass is very useful for my personal projects and for my job is almost useless. I gained new skills and my old skills got enhanced. But, for me the most important thing is that I met a group of really great people and great photographers.”
Congratulations to my friends from around the region who were able to take part in this interesting project and many of whom were able to produce terrific photo stories that may otherwise never have seen light or been published. I encourage you to explore the work published on the SEE New Perspectives site or peruse the photographers’ own websites linked above.
The video below features interviews with all of the photographers about their work and experience in the masterclass:
“Stories have always been a large part of what Hipstamatic is about. We have an opportunity to let photographers do the stories they want to tell, so we will be giving out grants to these photographers, so they don’t have to find publishers to finance their work.” -Lucas Allen Buick, CEO of Hipstamatic publisher Synthetic, speaking to BJP
This is an exciting development. Hipstamatic, the photo filter app for iPhones (iTunes store link), has announced plans to offer grants in support of photojournalism. We’ve written about the use of Hipstamatic and other iPhone filter apps in photojournalism before. There’ve been a few significant bodies of photojournalistic work produced on the iPhone: Damon Winter’s A Grunt’s Life, Michael Christopher Brown’s work from Libya, parts of the Basetrack project, VII’s iSee exhibition, and Ben Lowy’s iLibya and work from Afghanistan, among others.
There are scant details on how these photojournalism grants will work, but as BJP reports, they could be monthly or quarterly and will involve an application and judging process. The grants will be managed through the Hipstamatic Foundation, an educational arm of the company designed to support photographic storytelling.
Ben Lowy, incidentally, has been posting iPhone images frequently on his tumblr, including recent work from Libya produced on a grant from the Magnum Foundation, and he’s involved at some level with the forthcoming Hipstamatic photojournalism grants. Lowy has entered a partnership of sorts with Hipstamatic to release a Ben Lowy Lens, which will be sold under the company’s GoodPak program to provide funding for the photojournalism grants.
Make sure to check out Tumblr’s storyboard blog for an interview with Lowy about his current iPhone work. They’ll be publishing his Libya photos daily over the next week.
By the way, if you click through our links to buy anything here, we get a small cut of the sale. It’s a way for us to keep the lights on here at dvafoto. Thanks to those of you who have clicked through us in the past! Consider bookmarking this link to Amazon. It doesn’t change prices for you and gives a small portion of the sale to dvafoto.
In recent months the Alexia Foundation has been very busy with new social media presence and a gorgeous new website that shows off all of the terrific projects and photographers they have supported over the last 21 years. The Foundation was founded in 1991 and has awarded $700,000 in grants to fund over 128 projects by both professionals and students.
This year’s winners include Justin Maxon’s When the Spirit Moves, Kathryn Cook’s Memory of Trees and Katie Orlinsky’s Innocence Assassinated: Living in Mexico’s Drug War. Past winners include Matt Eich (2008), Balazs Gardi (2006), Marcus Bleasdale (2005), Francesco Zizola (2004), Ami Vitale (2000) and Melissa Lyttle (1999).
The Foundation has also just announced a new $25,000 grant called the Women’s Initiative “to provide resources for a photojournalist to produce a project that illuminates any form of abuse of women in the United States but with global significance.” The deadline is August 15, 2012.
“The Alexia Foundation’s main purpose is to encourage and help photojournalists create stories that drive change. While our traditional grant guidelines put no limits on the subject matter for grant proposals, a few proposals about women’s rights in the last few years have been so powerful that they have compelled the Foundation to create a grant specifically on the issue of women’s abuse. Because this issue is so shocking and deplorable – but continues partly because it is so often unseen or ignored – the Foundation will provide a $25,000 grant so a project can be produced that will illuminate the horrors of what is happening, often invisibly in our own communities.”
Kamerades is a new collective of photojournalists based in Belgrade who have come together to help develop independent photography in Serbia and to work on group projects documenting contemporary stories. They are currently working together to photograph the Serbian presidential and parliamentary elections, which will take place on Sunday May 6, 2012. These six photographers are contributing their own hard-edged and sardonic vision of the Serbian electoral process and how it reflects Serbian society. They call the project “Dirty Season”.
I think it is an important step for this group and Serbian photography in general to work on such collective projects, with financial support, and to have a community of like-minded photographers working together to get photographs published in their own voice. It is not easy, especially not here, but I admire their energy and efforts. With this in mind I had a few questions for the Kamerades crew about their formation and backgrounds. Given the timeliness of their new project with the elections this week, I chose not to show a portfolio of their work but this current electoral group project which I am so excited about. It is an incredible portrait of Serbia during this election cycle.
Kamerades is Saša Čolić, Nemanja Jovanović, Milovan Milenković, Nemanja Pančić, Marko Risović and Marko Rupena. As a group they regularly post to the Kamerades Blog including updates to the Election story, which they present without captions or credits.
So how did this group of photographers come together? Where did you meet?
Jovanovic: Marko Risovic, Milovan Milenkovic and I participated in a photography lecture supported by World Press Photo back in 2009. That was the first time that we showed some of our work to a group of people larger than three. I was swept by Marko [Risovic]’s Legionnaire story for example and one thing led to another. Milovan suggested that we meet and talk about doing “something” for Serbian photography, even if it means taking only baby steps. After two years of meeting in various pubs and places that would be too generous to call restaurants, speaking and inviting over 20 people to join us, this is what came out of it.
Pancic: Milovan Milenkovic and Nemanja Jovanovic initiated the idea that after our work when we have free time, we can meet at the pub and discuss our work. At first point it brought together a large number of photographers, but over the time there were six of us remained and those were the most persistent ones. During this period, which lasted some two years, we have become a collective. It’s started to affect in a positive way to all of us as photographers, but we also became close friends. In the end we decided to launch a website that allowed us to show our work to the public.
What backgrounds as photographers do you have? Freelance, agencies, newspapers?
Jovanovic: Probably every possible background you can think of! In Serbia, you don’t get a paycheck doing and specializing in only one kind of photography.
Risovic: All of the guys in Kamerades collective were working for Media outlets at some point. At the moment few of us are trying to freelance. In Serbia. Can you imagine?
Pancic: Some of us are working in the agencies, some try to be freelancers, and some in the press.
Was there a moment when this group came together and decided that it was time to work collectively? What was it? What gave you guys the idea to work together?
Jovanovic: Yes. The idea was not so clear in the beginning, but it was there all along. From start we were determined to “push each other forward” and to try to do what we like for no other reason. No money, no awards, fame or glory were important, only escaping our everyday routine which included participating in the inevitable decline of journalism, photojournalism and photography in Serbia. The collective came as a logical solution.
Risovic: Being colleagues, working next to each other for years, we were silent witnesses of degradation of photojournalism in Serbia. We realized that sitting and despairing doesn’t lead us anywhere. So, we decided to pursue some action, and besides hanging around, talking and drinking in the pubs, we tried to be constructive. As Nemanja said before, it was a process, but it was clear from the very beginning that we all have common goal.
How did the website come together? What are you hoping to accomplish with the website (that is, to sell work? to share pictures? promoting yourselves, promoting Serbia, just looking bad-ass, etc.)? Where did the design and logo come from?
Jovanovic: It took some time. We are not experienced in that kind of stuff, so we were learning the basics, step by step. We were lucky enough to be 6 people with completely different interests, knowledge, personalities, approach in photography, but we somehow clicked perfectly together, and it resulted in the fact everybody got their part of job. Mostly Sasha who whipped and pissed off rest of us (or, took the piss out of the rest of us), and Milovan who did logo and design details after approximately nine million e-mails and discussions about the same issue. Also, we had a lot of help from friends, like our colleague Darko Stanimirovic who did the website. A lot of people gave different advices, Matt Lutton among them [ed: happy to help guys!], Donald Weber from VII agency and our friends photographers, designers and editors from Serbia and abroad.
Selling our work is every photographer’s job of course, but with this portfolio we mostly seek attention and hope to sell something in the future, maybe to get some assignments that would suit our style/wishes. And looking cool is one of the goals, of course! We are pretty much terrible musicians and we couldn’t be rock stars, so we took cameras. Chicks love it!
Pancic: As I said before, the website has come as a result of our meetings during the past two years. One idea that keeps us together is that we want to show our work to world around us, we believe that as a collective we have a better chance to get more publicity and through joint actions provide us new projects. Logo design came from a smart push by Milovan Milenkovic, multitalented and good looking guy.
Risovic: Basic thing that bothered us from the beginning was the fact that when you simply google documentary photography and Serbia together, you don’t get any of the serious websites with representative work. There are great documentary photographers and photojournalists in Serbia. Believe us! We hope to change this with our website. And to look badass, it goes well with the fame.
Read on »
“On New Years Eve, $6000 in gear (and damage) was taken from my truck. Most heart breaking is that these folks found both of my external drives. Every single image created for the past 5+ months was lost. After spending 3 days hitting in the streets – passing out flyers, talking to the Police, knocking on doors, going to every pawn shop, scouring Craigslist…we have to move on!” -This Wild Idea help page
We last spoke with Theron Humphrey when This Wild Idea was a 30-day lark of a project. He drove around for 30 days and met and photographed a new person each day. It was a great idea, and after a very successful kickstarter campaign, This Wild Idea turned into a year-long project. Humphrey had been on the road for 5 months when tragedy struck on New Year’s Eve. Thieves broke into his pickup in Jackson, Mississippi, and stole his gear and drives. Cameras, lenses, computers, and (most saddening) his last 5 months of work on the project were gone. As Humphrey told a local news report, word on the street is that everything was sold for “40 bucks and some crack.” He’s borrowed some equipment, but he still needs your help to keep the ship afloat.
In recent weeks a few interesting and worthy fundraising campaigns have come across our radar that I wanted to share.
Grozny – Nine Cities is an ongoing project by Russian photographers Olga Kravets, Maria Morina and Oksana Yushko.
Grozny, the capital of war-torn Chechnya, is a melting pot for changing Caucasus society that is trying to overcome a trauma of two recent wars and find its own way of life in between traditional Chechen values, Muslim traditions, and globalization. Our project is inspired by Thornton Wilder’s book Theophilus North. It centers on the idea of nine cities being hidden in one. We applied this concept to Grozny as nine “levels of existence” hidden within the city.
More information can be found on their website, Grozny: Nine Cities.
Notable rewards for help in supporting the project: Postcards and signed prints. As of publishing there are 39 days left to sponsor the project via Emphas.is.
Newsmotion is a new concept of journalistic website put together by a very talented team of independent writers, journalists and producers, including Julian Rubinstein, Todd Gitlin and their photo editor Alan Chin, in partnership with the People’s Production House. A pre-launch of the site is now online at Newsmotion.org and includes a preview of a story I worked on with Gitlin and Serbian activist Srdja Popovic about Non-Violent Resistance while both were in Belgrade last May. Visit the Kickstarter campaign.
Newsmotion is an innovative platform for civic media, public art, and original documentary reportage. We are harnessing the power of independent voices, technology, and collaborative storytelling to help the critical issues of our time engage new audiences and find new solutions
Recent events—including the uprisings in the Middle East and the Occupy movement—have shown that individuals and communities with access to technology are able to get their voices heard. A collective vision for the future of civic media is already being realized in revolutionary ways—Newsmotion is our contribution to this movement.
Notable rewards: Books written by contributors, limited editions of “The Occupied Wall Street Journal” and the Yes Men’s special edition of The New York Times, an invitation to the famous Winter Gumbo party on December 27 in New York City (be sure to check the details and offers on this, it has been a hit in the past). Deadline: there are only 10 days to go, finishing on December 29, 2011.
FOLK is a new documentary film by Sara Terry about “singer-songwriters who are working just under the radar of mainstream American music, their lives playing out in a vibrant sub-culture that few people know about.” Visit the Kickstarter campaign.
Part music documentary and part road trip movie, FOLK lets our characters’ lives and their songs do what singer-songwriters have always done: amplify the themes that resonate across our cultural landscape – whether it’s re-defining success in the face of failure, trying to find wholeness in an increasingly fragmented world, or struggling to make sense of the trials and triumphs that make us all so human.
Notable rewards: Special edition DVDs, downloads and CDs from the project, limited edition prints and posters or even songs written about or for you by the musicians in the documentary. There are 15 days left, ending on January 3, 2012.
UPDATE (1/2/12): We’ve very happy to be able to say congratulations to the team behind Newsmotion for reaching and exceeding their Kickstarter goal and funding the next stage of the project. As well, Sara Terry reached beyond her fundraising goal for the documentary FOLK. There is still about a day to contribute if you want to be part of the founder’s community. The Grozny: Nine Cities campaign has 25 days left and could still use your support.