No. 146 - Winter 2020 : PORTFOLIO ISSUE
pg. 6-9 Taylor Mathues: Lebanon, NJ
pg. 10-11 Caroline Yang: St. Paul, MN
pg. 12-15 Yuliia Zaluzhna: Dearborn, MI
pg. 4-5, 16-17 Paul B. Goode: New York, NY
pg. 18-19 Rebecca Rothey: Baltimore, MD
pg. 1, 20-23 Karen Hymer: Silver City, NM
pg. 24-25, bc Rebecca Moseman: Purcellville, VA
pg. 26-29 David Oxton: Beverly, MA
pg. 30-33 Monika Cichoszewska: Zebice, Poland
pg. 34-35 Svemart: Vienna, Austria
pg. 36-39 Jenny Sampson: Berkeley, CA
c, pg. 40-41 Joshua Levy: Baltimore, MD
pg. 42-45 Shahria Sharmin: Dhaka, Bangladesh
46-47 Julianna Foster: Philadelphia, PA
Taylor Mathues, Metamorphosis
Taylor Mathues, Self-Portrait
Taylor Mathues, Self-Portrait 2
Taylor Mathues, Untitled
Caroline Yang,In the Clouds
Caroline Yang,Jessica Akpaka
Chernobyl is an incredible place where time is stopped forever. It will always remind us about human’s mistakes and the consequences that still have a huge impact on our planet. Let’s all be wise and learn from somebody else’s mistakes rather than our own. ■
Yuliia Zaluzhna, Chernobyl School
Yuliia Zaluzhna, Chernobyl Kindergarten
Yuliia Zaluzhna, Chernobyl Basketball Court
Yuliia Zaluzhna, Chernobyl Restaurant
Yuliia Zaluzhna, Chernobyl Amusement Park
PAUL B. GOODE
Paul B. Goode, Naomi
Paul B. Goode, Shirley
Paul B. Goode, Kelsey
Paul B. Goode, Natalie
Rebecca Rothey, Parisian with Poodle
Rebecca Rothey, Men Moving Mirror
Rebecca Rothey, Comfy in their Skin
Age & Seduction is a group of hand-worked photopolymer gravures that explore the relationship between the aging human body and natural elements. I grew up in the desert collecting dead animals, dried plants and rocks. This landscape has inspired me to seek relationships between the transformation of my own aging body and the processes of decay in the natural world.
I have also been influenced by the cookbook Aphrodite: A Memoir of the Senses by Isabel Allende. Some of my images pair the body with foods believed to be aphrodisiacs. Allende states that food, like eroticism starts with the eyes. My eyes are drawn to fruits and vegetables past their prime and to bodies that display the evidence of age. I seek to show aging as a natural yet mysterious process.
These images mark the passage of time, contemplating the overlooked and undervalued vestiges of life. There is a tension imbued in the forms that brush up against each other—needles press skin, torsos hide behind branches, and fruit ages like flesh. Often metaphorical, these pictures are performances of self-reflection, pushing the limits of seeing the self, and encouraging the viewer to confront an uncomfortable beauty. ■
Karen Hymer, Remnants 277
Karen Hymer, Remnants 202
Karen Hymer, Remnants 280
Karen Hymer, Food and Flesh 1
Karen Hymer, Food and Flesh 3
All images from the series Irish Travelers
Rebecca Moseman, Alisha
Rebecca Moseman, Generations
Rebecca Moseman, JJ in Kitchen
Rebecca Moseman, Jonathen with Gun
Rebecca Moseman, Philomena
These images were made in backyards alongside the commuter rail line that stretches north from Boston to Rockport, Massachusetts. My intention was to show scenes that one could only view by living next to the passing trains.
I designed these photos to include some of the characteristics of photos taken by O. Winston Link back in the 1950’s when he affectionately photographed steam-powered trains in Virginia and West Virginia. I often relied on the generous help of strangers to construct scenes in the foregrounds of my shots.
These are a collection of stories of trains traveling through small town America. They describe the daily condition of large, noisy trains moving steadily through suburban neighborhoods. These are portraits of people who have a daily relationship with commuter trains. ■
David Oxton, Essex Road
David Oxton, Harbot Street
David Oxton, Windsor Road
David Oxton, Brimbal Avenue
Monika Cichoszewska, Mirror
Monika Cichoszewska, Bathed in Light and Kissed by the Shadow
Monika Cichoszewska, Faint Breath of the Wind
Monika Cichoszewska, Branch I Would Be
We specialize in analog pinhole photography, because it is a most pure method of taking pictures.
Time, as one of the most influential aspects in pinhole photography, is the main thread through this series of pictures.The fascination lies not within the technically required exposure time, but mainly on the things that happen during the exposure time and the effects of reproducing moving objects in the picture when the picture includes a longer period. The effect is great and doesn’t spare an existential connotation: whatever is moving ... is alive ... whatever is alive ... will fade away. ■
Svemart, Kindheits Erinnerungen (Childhood Memories)
Svemart, Leibes übungen (Physical Exercises)
Svemart, Motion Picture
I began photographing skateboarders in 2010. Over the course of many years, I witnessed few girls and women at the skateparks. When I did, I was so happy—it was as if I had spotted a rare bird in the wild. I would attempt to garner their attention thinking “I am a rare-bird-woman-with-all-this-photographic equipment, they must notice me, as I them.” Alas, this was not always the case. Were they acting tough? Was I? I continued to play the role of confident photographer in a foreign place and made my move.
Skateboarding has historically been a male-dominated world. There have always been girls in the skateboarding landscape, yet they were few and far between and most certainly underrepresented. With my photographic series, girl skater, in our current political and social landscape which can be simultaneously confusing, upsetting and inspiring, I hope to increase visibility and pay homage to these young and older girls who have been breaking down this gender wall. The girl-power movement continues to grow and permeate the globe. This robust movement and its momentum advances social equity through empowerment, confidence, independence, strength, creativity and leadership in girls -all skills that come in quite handy in the skateboarding world (and the world beyond). By photographing these skaters with a slow, 19th century photographic process, one that requires the subjects to remain still, we, the viewers, are left with a unique honesty that is not often felt with modern, faster processes.
What we are left with is their strength and determination. There is a notable and distinct mutual respect I experience while making this particular series as photography was also historically male-dominated. Although I am not a skater, it feels as if I can still be somewhat of a member of this group. I admire them as purposeful and courageous, open, silly and supportive; I admire their respectful and shrewd fight for their place in their world. ■
Jenny Sampson, Amelia, Seattle, 2019
Jenny Sampson, Kandace, Los Angeles, 2018
Jenny Sampson, Ayako, Los Angeles, 2019
Jenny Sampson, Dani and Vada, Encinitas, 2018
The male figure has been displayed to show off the strength and influence it can have on society. ADAM was created to break every preconception that society has of traditional male masculinity to show the emotional position of the male body while showing vulnerability within the portraits.
Each male was photographed to express the longing for a significant other. Throughout my life, I have never been the person that was desired, placing my mind in a dark place. I was hurt; feeling as though I was never wanted by anyone. ADAM was my way of expressing the loneliness that I felt during those times and the dark thoughts that haunted my mind. In the end, I wanted to be the individual that the male subjects long to be with. ■
Joshua Levy, Calvin
Joshua Levy, Frank
Joshua Levy, Matt and Matt
Joshua Levy, David
It was surely a startling discovery for the Rohingya when they found me in the middle of the Kutupalong camp. Shelters for those left homeless by states. Rohingya, who had become quite familiar with the presence of cameras in their lives by then, found me different, almost weird. A woman, carrying a very large wooden box camera, nervous, not so sure why she was even there and looking completely lost — not a familiar site at all.
It didn’t take them long to realize that I was an outsider to their world. Slowly but surely, I became a spectacle. Not that I ever claimed to be a part of their existence but at least I was not pretending. I started telling my stories — I started telling their stories. I had never experienced genocide. Nobody in my family was ever killed, tortured or raped. Eventually I myself became the ‘contrast’ in the story. The deep sense of satisfaction I had for being part of the host nation, came crashing down when their stories hit me. My work with Rohingya youth began in May 2019.
Yasmin who waited for her husband for four years saw him just for a glimpse. The day he returned from Malaysia; he was executed by Myanmar military with their two sons. That same day, this 23-year old was raped that gave her a child in the refugee camp. A child whose loving face reminds not of her husband but of terror. There was no trace of hope, only despair and a great deal of anger against the whole world. A world that did nothing to save them from ethnic cleansing, which eventually became a full-blown genocide in 2017.
723,000 Rohingyas fled to Bangladesh from brutal violence back home in August, 2017. Together with influxes of 1970’s through the 1980’s and 1990’s, this recent wave almost completely uprooted them from Myanmar. There are about 1.1 million Rohingyas in Bangladesh now. Cox’s Bazaar became one of the largest refugee concentrations in the world almost overnight. While they say they are indigenous of Rakhine, the Myanmar government claims that Rohingyas are Bangladeshi immigrants. Once elected to the Myanmar parliament, Rohingyas are no longer even considered citizens.
Myanmar was an open cage where they feared persecution, torture and death. Today they have lost their identity and are called Forcibly Displaced Myanmar Nationals. Nationals, not citizens, not even refugees, nor are they Rohingyas. That was the price they paid for a safer, but closed cage in Bangladesh.
A child who has seen the most terrible of human atrocities, a woman in search of the non-existent heaven, a family in search of a place called happiness, a man who looks across the border in search of his father’s graveyard…I photographed it all.
I photographed a community that is always running from fire. They run into Bangladesh, take a break, traffic themselves to Thailand, rest in another hell, go to Malaysia, which never meets their dreams, take another break, go to Indonesia, feeling Australia is better - probably the heaven and the promised land. Along the way their boats capsize and thousands die. Many thousand miles away, there is Myanmar, a most unwelcoming home in human history.
A young mother stands on the seashore, barefoot, lost, looking at the sky, asking God ‘Why is there no place called home?’…. I photographed that too. Helpless in my existence, my camera captured life as they knew it to be- an escape, an unbearable journey, a neverending path to a future unknown.
Travelling back and forth to the camps, I spent months making portraits of Rohingya youth and listening to stories of villages back home, where they hoped to return one day. The result was a complex layering of landscapes, portraits, found photographs, personal testimonies and my own narratives. Being a mother of twin daughters, who had gone to a foreign land for university, I sought young faces at the camps who had lost their dreams, and what comfort those dreams brought them. These, too I recorded. I invited them to sit for a portrait, a simple, direct, respectful rendering of one person, or a group in front of the wooden box camera. My Studio was the shared space showing the rawness and delicate intimacy of interpersonal relationships, of love, of fear and helplessness. The portrait remains at the core of the work, my journey into discovering their lives. While most of the pictures are made in a makeshift studio, some were created outside the studio in the open and there is a bit of a release. ■
All images from the series When Home Won't Let you Stay
Julianna Foster, Geographical Lore 3
Julianna Foster, Geographical Lore 2
Julianna Foster, Geographical Lore 6
Julianna Foster, Geographical Lore 7
PARTNER SPOTLIGHT: Reid Callanan
Reid Callanan, 1990, photo by Douglas Merriam
In 2002 SHOTS Publisher Douglas Beasley traveled to Santa Fe to take a workshop that turned out to be life changing. He met Reid and then returned for many years to teach in this amazing setting. This year marks Santa Fe Workshops’ 30th anniversary.
After 30 years, Santa Fe Workshops is consistent and constant – offering craft, vision, and inspiration just as we did in 1990. Through the ebbs and flows of the business world we are still around and always evolving to stay relevant. Consistency is key, along with evolution.
For the first ten years of the business we only offered workshops in Santa Fe. In 2001, we opened our first international campus in San Miguel de Allende, Mexico. In 2010, we began offering educational programs in Cuba. In 2020, we have trips planned not only to San Miguel and Cuba, but also to Nepal, Morocco, India, Romania, and Japan.
The huge number of benefits of taking a workshop hasn’t changed over the years, and if anything, it may have developed into a richer experience because of the power of getting together in a group setting. Unfortunately, this doesn’t happen as often today because so much of our life with others is faceless online interactions. Workshops build community, they move us off of stuck places, they energize us, they teach us important stuff, they inspire us, they lead us to a more fulfilling creative life. I am a fan of the workshop experience – obviously. I have devoted my life to this.
Not many people know of my creative life outside of running the Workshops, but it’s the main reason I initially got started down this path. My first experience with photography was in 1974 while I was going to school in London and then visiting new places throughout Europe on weekends and during holidays. I used the camera to document the places and people along the journey.
I am still excited every day to explore and discover my world through image making. I am 45 years a photographer, not by profession, but because I love the creative process that unfolds with a camera in my hands. I am having the very first exhibition of my images this spring in Santa Fe at FOMA Gallery. The opening is April 3, 2020, so I am busy pulling prints these days. ■
—Reid Callanan / Founder and CEO of Santa Fe Workshops