You are currently browsing the category archive for the ‘Photography: Non-Prison’ category.
Recently, I was asked if I knew Gaylord Herron‘s photography from within prisons. Know the work? I didn’t know the photographer. I haven’t tracked down any of his prison stuff yet, but while I busy myself with that I recommend you watch this film.
The documentary (broken into three bite-size Youtube clips) is a fantastic intro to the life of an extremely talented news-man and photographer. The film revisits the moments of serendipity, hard work and dreamlike exploration in the lives of Dan Mayo (publisher), Bill Rabon (muse) and Herron himself.
Vagabond (1975) was met with huge critical acclaim but it simply wasn’t distributed effectively. Copies are now collectors items.
Sure, there’s anger, disillusionment in Vagabond but there is also lightness or as someone comments in the film, “There is magic.” Vagabond it is a visual poem that stands next to and up to the grittiness and bleak outlook of Larry Clark’s famous book Tulsa. The two photobook projects were contemporaneous.
What I like about the film is that there are no regrets from any of the players. Herron suggests the journey had while making the book was its main purpose. All three of them feel that the book was a product realised in a particular time and that the exploration necessarily had an end point. The story is strangely and simultaneously both wistful and pragmatic.
Herron now runs a bike shop in Tulsa, Oklahoma.

A couple of months ago, I was contacted by the Magnum Foundation (MF) and asked to nominate six photographers who were pursuing projects of social importance. The MF was readying itself to disperse the 2013 Emergency Fund grants.
Today, in conjunction with TIME LightBox, the Magnum Foundation announced the 10 chosen photographers and their bodies of work:
Adam Nadel, Getting the Water Right
Alex Welsh, Home of the Brave
Giulio Piscitelli, From There to Here
Jehad Nga, Unmasking the Unthinkable
Mari Bastashevski, State Business
Olga Kravets, Radicalization
Rafal Milach, The Winners
Tanya Habjouqa, Occupied Pleasures
Philippe Dudouit, The Dynamics of Dust
Tomoko Kikuchi, The River
Two of my nominations won support. That’s a one-in-three strike rate; better than the current form of Blazers’ guard Wesley Matthews.
Nominations by myself and 14 others resulted in a pool of 100 photographers. From that 100, a three-person editorial committee – Philip Gourevitch, contributing writer for the New Yorker and former editor of Paris Review; Marc Kusnetz, former Senior Producer of NBC news and Consultant for Human Rights First; and Bob Dannin, former Editorial Director of Magnum Photos, and professor of history at Suffolk University – chose 10 projects.
10 grants have been dispersed. Regional photographers who live and work near their homes each received between $4,000 and $7,000, while the photographers working internationally secured grants between $7,500 and $12,000.
“The EF 2013 grantees are a group of talented photographers, working internationally and within their home regions. All of the projects anticipate emerging issues that are underreported and show great promise to reveal new perspectives through a range of visual styles and approaches. […] The selected projects address a range of pressing issues including human impact on one of the world’s most delicate ecosystems, systemic roots of violence in vulnerable communities, investigation of human rights abuses, and post-arab spring immigration flows,” says the Magnum Foundation.
Due to the sensitive nature of many of these projects, MF is being careful about the amount of information it shares publicly about the projects’ details and geography. We’ll just have to follow the photographers’ output closely.
Congratulations to all grantees.
See the work at TIME LightBox.
Above image: Tomoko Kikuchi, from the series The River.

Alan Pogue is one of the best documentary photographers you’ve never heard of. Not one to get mixed up in the social media conga line, Pogue instead spends his time hunting down important stories. Very important stories.
Rosa Moreno lost her hands last year in an industrial accident in Reynosa, Mexico. Pogue writes:
“They needed to step up production and Rosa was asked to operate a machine that stamps out the back plate for a particular model of flat screen monitor because it was a little complicated and she was good and she was faster than most. She was also a little more brave. It scared some of the others who declined to work at this machine on the line. She stepped up.
It happened just after 2 in the morning February 20, 2011. As she was positioning a piece of steel plate, the machine suddenly jumped into action and clamped down on her hands with tons of force. She knew she had to maintain her presence of mind, since it would be necessary for her to argue for being taken to the right hospital. […] but the company would not allow an ambulance to be called. They did not want her taken to the hospital Rosa wanted because it might be more expensive, and because the accident would be on the record. With her hands now flat as tortillas and meshed into the monitor back plate, she walked to a co-worker’s car and was taken to the hospital, where they amputated her hands, still enmeshed in the steel plate.
She gets by on the Mexican government’s equivalent of Social Security disability, about $230 dollars a month. There is no workman’s comp. She had no insurance. There was no union. Some church groups help her out a bit with food and some money. The company offered to give her a one time payment of $4500. But she refused. Even though it is not clear that there is a way to obtain a better settlement through the court system under NAFTA, she holds out.”
Alan Pogue has photographed extensively across North and Central America focusing on social issues, labour issues, civil rights, criminal justice and the Texas prison system. I had the pleasure of meeting him last year and when we talked about his stories, water gathered in his eyes and his voice wobbled. This is work that he really feels and Rosa’s is a cause he deeply, deeply believes in. Please think about helping this holiday season.
via Susan Noyes Platt.

All I want for Christmas is more weird images.
Twelve months ago, I posted To You, Happy Christmas, From Google Image Search. I guess now that I’m revisiting the format, it’s now a holiday tradition? I don’t know if this years selection tops last. I’ll let you be the judges.
Merry seasonal cheer to one and all.






























Doug Dubois needs no introduction in photocircles, but he did when he stepped on to the Russell Heights estate in Cobh, Ireland. Doug was running workshops with the youth in Cobh but making no photographs. Out of compulsion he asked to go to their homes to inspire his photography.
After last weeks events in Newtown, Connecticut, the preciousness of childhood is on the minds of millions. Childhood and teenage years deserve celebration. Dubois’ My Last Day At Seventeen is a celebration. There’s no portfolio on his website but you can see selects on Piece Of Cake.
Often, when you hear teachers reflect about their work, you’ll hear, “I learnt more from the students than they learnt from me,” or some variant of. It seems this was Doug’s experience.
“I’m interested in the glow of youth; its fragility. As I’m older, I know it will disappear, but they don’t,” says Dubois in a beautifully produced feature in the 13th episode of the Irish culture and arts television program Imeall. Dubois spent four consecutive summers working in Russell Heights through the artist in residency programme at Sirius Arts Centre.
“He spent four years photographing my life,” says Erin Mackessy, one of Dubois’ main subjects (above, on the left) who speaks throughout the film (click the image below). The respect between Doug and Erin is described really well. It’s nice to hear both photographer and subject talk about one another so familiarly.




It always a delight when you find gorgeous photographs. It’s a double delight when the photographer can write with genuine and compelling words. Sarah Hoskins – whose Girl’s School work I featured on Prison Photography in September – was recently featured on Roger May’s excellent Walk Your Camera website.
In presenting her series. The Homeplace, Hoskins recounts a car crash she and her daughter suffered this summer and the response of her subjects and new friends.
In the fall of 2000 I stood in the middle of Frogtown Lane map in hand, I didn’t know a soul. On June 11, 2012 I lay strapped down in an emergency room in Somerset, Kentucky a hundred miles away from that lane.
I had left the African American hamlets of the Inner Bluegrass Region that morning, where I had been photographing for the past week as well as the past twelve years. […] The residents of the hamlets arrived like the cavalry in Somerset within hours of the car accident, dropping everything to rescue my daughter and myself as well as all of our belongings including my cameras and film from the wreckage that was our car.
[…] I am being wheeled through the in the emergency room of UK hospital in Lexington, Kentucky. I am brought into yet another emergency room. I can still only look up. I see the eyes that are Derek’s, the same eyes his daddy had. He strokes my hair that is matted and covered in dried blood. His warm coal colored hand holds my cold pasty white one. The nurse says, “Only relatives are allowed in here. How are you two related?” I hear the smile in Derek’s voice, “It’s a long story.”
Heartfelt stuff. Read more.

A prisoner at the Estrella Jail, Phoenix, Arizona makes a face before he is photographed. © Scott Houston
Friend of the blog, Scott Houston, has a spangly new website featuring not one but four portfolios of his work from Maricopa County, “Tent City” and the show that is Sheriff Arpaio’s chain gangs.
Scott is a New York resident and like most with a camera got out to photograph the aftermath of Hurricane Sandy. He sent me some images. I’ve had my own thoughts on the photo coverage of Sandy, so I’ve tried to select an edit here that shows some things other photographs have not – namely Con Ed workers, different-enough compositions and laughter (click any image to see it larger.)


























