Tag Archive: collaboration

Hot off the presses: “Stranded” a magazine made by those interrupted by Eyjafjallajökull

Stranded - a magazine by those disrupted by Eyjafjallajokul

Stranded - a magazine by those disrupted by Eyjafjallajokul

I think we’ll be seeing more and more one-off print publications d’arte, and I like that prospect. McSweeney’s had a brilliant hit with their 300-page newspaper the San Francisco Panorama. The latest such endeavor: an 88-page magazine/souvenir collaboration by about 50 people stranded by the eruption of Iceland’s Eyjafjallajökull volcano. The content comes from an open call posted April 20 for “designers, writers, photographers, illustrators, art directors and anyone else who is stranded by the ash cloud, and would like something to do.” It looks beautiful, and it’s on sale now.

Worth a look: VII & MSF’s Starved for Attention

Starved For Attention - VII and MSF

Starved For Attention - VII and MSF

VII and MSF (Doctors without Borders) have just unveiled their latest collaboration, Starved for Attention. The project, a multimedia campaign featuring photos, videos, interviews, petitions, exhibitions, panel discussions, and other events, seeks to “expose the neglected and largely invisible crisis of childhood malnutrition” worldwide. Photographers Marcus Bleasdale, Jessica Dimmock, Ron Haviv, Antonin Kratochvil, Franco Pagetti, Stephanie Sinclair, and John Stanmeyer, have produced documentaries for the project in Bangladesh, Burkina Faso, Democratic Republic of Congo, Djibouti, India, Mexico, and the United States. Marcus Bleasdale’s piece, Frustration, from Djibouti is the only one online right now, but more will be released over the coming months. The exhibition is currently on display in Brooklyn at the VII Gallery (map), and will travel through the rest of the year. Check out the project blog, too.

Interview: Romain Blanquart and Brian Widdis, Can’t Forget The Motor City

The global media portrays Detroit as a post apocalyptic environment, showing picture after picture of modern ruins, buildings that were once the pride of our city. What’s absent from these images are the people. What we see instead are soulless photographs portraying Detroit as an abandoned city with little regard for the more than 850,000 people who still call it home. Decay is compelling and easy to document – and first time visitors are often fascinated by these exotic ruins. Nevertheless, Detroit’s fall from grace and its current state is not the last or only chapter in the story of this great city. “Speramus Meliora; Resurget Cineribus”, Latin for “We Hope For Better Things; It Shall Rise From the Ashes”, is the motto written on Detroit’s seal. (introduction)

Romain Blanquart and Brian Widdis recently wrote us about their joint project Can’t Forget the Motor City. We want to share a small selection from the project and Blanquart and Widdis’ answers to some of Scott’s questions about their work.

dvafoto: Why photograph a project together? How do you balance both of your styles and approaches against and with one another? Why approach the project the way you have (one focus on people, the other focus on landscape/surfaces)?

Brian Widdis (photographed landscapes in black and white): When I first started thinking about the project, it seemed too ambitious to tackle alone. Romain and I had the same frustrations about Detroit’s portrayal in the media, so the partnership made sense. I was aware of other two person collaborations, so I started thinking about how we could make it work. For many of us, life as a photographer is a solitary existence – it’s been nice to step beyond that with Romain.
In the beginning, I was concerned with establishing our individual voices. Our styles are not overly similar, but we were interested in telling a similar story about Detroit. So if there were no parameters about what to shoot, we would surely duplicate the same scene. Structuring the way we have was also a kind of ego insurance. If we were to photograph the same things, I was afraid he’d outshoot me all the time and would have all the good photos in the project. By varying our areas of emphasis, I guaranteed myself half of the photos.

Romain Blanquart (photographed people in color): This project started about a year and a half ago over a telephone conversation. We both had just seen more images of Detroit in a publication I can’ t remember now, the Independent newspaper I think. Decay, desolation, abandoned buildings, more of the same, not a person in sight; important but so misrepresentative of our city. It pissed me off. Not so much the photography itself but the way it was used, a superficial and misleading representation of Detroit that is constantly drilled into people’s heads. I think that there is a place for photographs of Detroit’s destruction but it has to be put into context and these same images cannot be solely or prominently used by the media when talking about the history, the present or future of Motown.
My background is photojournalism working at American newspapers for the past ten years. Our life, I mean the world, is about people first. And it does not mean that photographs need to be of people. This is what I think brought Brian and I to work together. His photography tends to shy away from people but IS about people. Quiet and subtle moments where the human imprint can be felt. Perfect combination with my way of photographing that tends to be of people in a pretty straightforward way. We have the desire to tell a similar story. We always photograph together for this project to experience the same spaces, moments, people… We do not think or overanalyze our styles and what we photograph. We photograph what and who we are naturally attracted to.

dvafoto: What sort of response have you gotten from editors? I imagine you’ve had some difficulty because the piece challenges contemporary visual expectations of Detroit so much. Is that true?

BW: People in general understand where we’re coming from, but in some respects, a vision of Detroit that is not the same old thing is a hard sell, especially in a general news sense. We’re not doing a documentary project, so in the end, that’s not really our concern. Our project is different in that it’s a documentary style project that is a reflection of our two perspectives. Not a definitive look at Detroit, but different than what most people have come to expect.

RB: The feedback so far as been very positive. You can only listen to the same story told the same way so many times, unless it’s your favorite story! Our challenge is to challenge visual expectations of Detroit. I also want to say that this project does not intend to be an ultimate, statistically correct portrayal of a city. It is more the representation of what someone would experience and see if they spent the time to crisscross this city for a few months with, I would like to think, an open mind.

dvafoto: Many photographers separate portrait-style photo essays from landscape essays from documentary essays, etc. You’ve mixed styles together in the presentation. What does that juxtaposition accomplish? Same question, but for color vs. black-and-white.

BW: Since we knew that the scale of this project would be large, it made sense to have these limitations – only people in color and only surfaces in black and white. It’s a way of focusing the energy, while playing to our individual strengths. Our goal is to create a rhythm using the back and forth of the two individual visions to create a combined third vision. We have been experimenting with ways of establishing that rhythm and the specific medium will play a large part in how that comes together – the book may look different than the website, and the prints on the wall etc.

RB: The mix of portraits and landscapes is simply due to the fact that this is what each one of us is primarily attracted to. So we made it the rule of this game, stick with what you are best at for now! Similar for the color and black-and-white. What attracts me about working this way is that you can look at the project and see two voices conversing using a different vocabulary that once combined generates a third and I believe more powerful voice. And lets face it, the more the merrier.
Working together has many more advantages. It’s a great way to have twice as many ideas and I like the conversation we can have about Detroit and photography. It is also safer.

dvafoto: How are the people of Detroit responding to your presence when you are out working on this? Are your subjects appreciative or apprehensive? Do many of the subjects bring up issues about Detroit’s usual portrayal in the media?

BW: People in general and Detroiters specifically understand exactly where we’re coming from when we describe the project. Most folks have seen the same stories and have the same reaction that we have. Detroit definitely has an image problem – and it’s understandable – the city is a mess. We aren’t trying to fix that image or describe Detroit in its entirety. Our goal is to show that there is a complexity in Detroit that’s not usually seen.

RB: The people we photograph have always been happy about the fact that we want to show something else than decay. Many of them are sick and tired of the way their city is often portrayed.

dvafoto: What’s the eventual plan for the project? Have you finished the photography? Where do you see it ending up?

BW: The photography is about half way done, I think. Our ultimate goal is to publish a book. Romain and I believe strongly in the photobook. We would also like to show the work in Detroit and elsewhere.

RB: The first phase of the project was photographed by walking around the city making random encounters. Now we are looking to get more intimate in the space and people we photograph. We are starting to explore Detroiters in their personal space, their home. The final presentation of this story will be in book form. We also want to share the work through exhibits in Detroit and other cities.

dvafoto: What photography/journalism/art/etc. is getting you excited right now?

BW: I have been really enjoying Mark Steinmetz’s three books South Central, South East and Greater Atlanta . He’s an outsider in the communities he photographs, and his encounters with his subjects are random and brief, but there is still a remarkable sensitivity that he gets to. I’m also really interested in how photographers navigate their personal space and relationships. Two books that I have been enjoying are Doug DuBois’ All the Days and Nights and Nigel Shafran’s Edited Photographs: 1992-2004. Rebecca Solnit’s A Field Guide to Getting Lost is a collection of essays about being lost and the unknown.

RB: Photography books that I have been liking lately are South Central by Mark Steinmetz, There Is Something In The Air by Cuny Janssen, I Am – Paradox Identity by Ilse French. I used to look at a lot of photography online; there are so many great photographers in this world but I realized that I should be doing my own work instead so I now avoid looking at photo blogs as much as possible! I also feel inspired by my friends from the photography department with whom I work at the Detroit Free Press.

You can learn more about Can’t Forget The Motor City, and stay in the loop for updates, on facebook and Tumblr.

From the mailbag: Luceo & MJR group publication and show

David Walter Banks (previously interviewed) wrote in to tell us about the upcoming Luceo Images and MJR publication and one-night exhibition at 25CPW in New York City. The event will take place Thursday, Janaury 21, 2010, from 6-10pm at 25 Central Park West at the intersection of 62nd Street. The folks at Luceo and MJR are good friends of dva. The groups both have a ton of photo mojo, and it’s great to see their efforts combined. I asked Banks a few questions about the publication and event. His answers are excerpted below:

dvafoto: What got Luceo and MJR together? How long have you been working on this project?

David Walter Banks/Luceo: Various members of LUCEO and MJR have become friends over the past couple years, and had some time to spend together at LUCEO’s last two biannual meetings in NYC and then again at the LOOK3 Festival of the Photograph in Charlottesville. The show and publication have been at least 6 months in the making that I can remember….

Why a publication?

Both groups have strong editorial ties as well as work that leans more toward the fine-art world, so the publication was a mix between the two. The idea was to create something tangible and lasting instead of just a one-night event. It’s also the concept of taking the idea of a magazine, and creating a limited edition collectible art piece out of it. A publication that in our eyes warrants large-scale reproduction and display space on a gallery wall. To this end, the focus is more on the print piece instead of the show itself, but the catch is that you have to attend to receive the publication.

Will we be seeing new work? Whose work will be in the show (all the photographers in each collective or just a selection?)?

The piece and show will feature work from each photographer involved in the two groups, as well as the craftsmanship of the designer and editor we had the good fortune of collaborating with. The show will feature some old work and some new, but certainly all in a different presentation than before.

The release says “Issue One” — will Issue Two also be Luceo and MJR, or is the first issue testing the waters for something bigger? When will we see #2?

We’re not ready to announce anything yet, but the door is open, and this will certainly not be the end of our collaborations with MJR, who have been the driving force behind the publication….

I wouldn’t say the show is just testing the waters, because I do believe it is an end and not just a means, but it is a sign of what’s to come. Both of these groups have similar feelings about collaborating and building bridges within the photographic community and beyond. I believe each group will build from this experience and take that forward into future endeavors.

Luceo is: David Walter Banks, Kendrick Brinson, Matt Eich, Kevin German, Tim Lytvinenko, Daryl Peveto, Matt Slaby
MJR is: Mustafah Abdulaziz, Ying Ang, Matthew Craig, Julius Metoyer, Gareth Phillips, Brandon Thibodeaux

OpenGoo and other business management tools for the freelancer



Pictures are the easy part. A great deal of success as a freelancer is figuring out how to efficiently run one’s business. It’s a constant struggle keeping track of clients and leads and deadlines and tasks and invoices and estimates and late payments. A number of fee-based websites can do this, and Google has Calendars and Docs and Wave.

I’ve just found out about OpenGoo, and it seems like an extremely useful tool, especially for photo collectives, independent one-off festivals and exhibitions, and other endeavors lacking considerable financial backing. It installs on a webserver using the same technology as an average blog, supports multiple users, and handles calendars, tasks, contacts, and documents, among other features. It’s still actively being developed, but it’s already a pretty robust office management system. Definitely worth a test-drive.

None of this solves the problem of invoicing. A simple wordprocessor only works for so long. Blinkbid‘s great, but tough to use if you need to access invoices on the road and it’s on another computer. I like SideJobTrack, which unfortunately no longer allows new signups. Here’s a decent survey of online invoicing systems. Invoice Journal is one free online invoice system, and a few open-source installable invoicing systems exist, as well: MyClientBase, Simple Invoices, and Bamboo Invoice all seem promising.

Call for Entries: Picture Black Friday

Picture Black Friday

Picture Black Friday

Picture Black Friday is a photojournalism project that aims to revisit and analyze a combination of forces- a worsening economy, financial desperation, excitement, fear, absurdity, and a distinctly American cultural tradition- that culminate the morning after Thanksgiving.

Having been on a couple Black Friday stakeouts too many, Picture Black Friday strikes me as a wonderful idea. Yes, the hordes of people lined up to buy a cheap laptop or Wii is part of the story, but much more happens the day after Thanksgiving. The project, which will be exhibited on Conscientious and Too Much Chocolate, hopes to get photographers documenting the day “on their terms”, independent (or not) of the usual consumerist portrayal.

(via Conscientious)

Worth a look: Rusyns – Lost Homes

Jaro Basos - Smolnik 2005 (from Rusyns - Lost Homes)

Jaro Basos - Smolnik 2005 (from Rusyns - Lost Homes)

“Rusyns – Lost Homes” is an interesting project to me in a few ways. It’s a collaborative project between photographers Lucia Nimcova, Lucia Dankova, Silvia Hulajova, Ivana Lempelova, Jarek Basos, Jozef Fundak, Stevo Koco, and Roman Babjak. Make sure to click all the way to the end where there are some music samples and other media. The photos may stray too far from photojournalism for most of the people reading about it here, but the photos, and especially, the mixture of recent Photography (with a capital P) and archival photos from the various families’ collections create a compelling document of a village that might be missed through a more traditional documentary approach. While I don’t gain an understand of the people’s plight or fortune and its importance and place in the news of the day and history, etc., that I’d expect from journalism, I feel like I’ve got an idea of what these people are and were actually like.

But, what I find even more interesting, this body of work is the first time I’ve felt a personal connection to the people depicted. My family, on my mother’s side, immigrated (a hundred years or so ago) from the Carpathian Mountains in what’s now Slovakia. They were Rusyns. Now, I can’t claim to be Rusyn in any sense without telling some long stories that are only known to my immediate family through the diligence of a relative’s genealogy in the past few years. What strikes me, though, is that this is the first time I’ve seen photographs that approach a subject that reaches into to my own life and history. I’m trying to figure out what this means. In one respect, the distance I am from most subjects of photojournalism (take this year’s World Press Photo results) is part of what makes it valuable. Journalism should take the reader into a world he or she wouldn’t otherwise know. But, I imagine that distance is also part of the frustration many readers/viewers feel when presented with story after story of something horrible or wonderful in a far off land. Or maybe this is just the first time I’ve really seen what life is like among the Rusyns and I can say, “These are my people,” though I wouldn’t have even known that 5 years ago.