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EMERGING P H OTO G R A P H E R

volume 10

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table of contents

02

L ET T E R FR O M T HE E DI TO R

04

A N TO N I O PR I VI T E R A, RE VI S I T E D

15

18

Jame s Emme rman L IMINAL SPACE

24 Marle na Wald th ause n

R uairid h Mc Glynn

28 Mad e line Tolle

EMERGING L AND

06

12

AGUA DULCE

Alessio Cabras EUCALYPTUS

10

MOH AMAD

20 Maria Gab rie la Le on Pae z Garc ia DYSP H ORIA

J oel J i menez W H E N T HE DU ST S E T T LE S J aco b Wa l l wo rk T R AN S - MO N GO LI AN

Photo © Madeline Tolle

22 Ke lli Pe nning ton L IMINAL

31 Corina Marie H ow e ll P OWER WOMEN OF TEL EVISION

33 Portfolio of One AL EX WROBL EWSK I


EMERGING

volume 10

2

PHOTOGRAPHER

LETTER FROM THE EDITOR What inspires your photographic journey? The following pages contain individual profiles of each winner of the Fall 2018 edition of Emerging Photographer. Through our interviews with them, we get a deeper

SENIOR VICE PRESIDENT Gannon Brousseau GROUP PUBLISHER Mark Brown (646) 668-3702 DIRECTOR, CREATIVE SERVICES Moneer Masih-Tehrani MANAGING EDITOR Stacey Goldberg ART DIRECTOR Nora Molina

sense of what fuels their artistic endeavors: a desire to push creative limits; a sense of urgency to raise awareness about a subject that, for

COPY EDITOR Elissa Hunter

them, hits close to home; the ability to document an excursion from their own perspective; or the urge to use the camera as an outlet to express strong feelings toward a certain subject, conversation or event. Stylistically it'd be hard to find a running theme between all the winners. Visually, their work is all unique—from Ruairidh McGlynn's vast landscapes to Kelli Pennington's reflective documentary story to

CONTRIBUTORS Lindsay Comstock, Jack Crager, Brienne Walsh PRODUCTION DIRECTOR Daniel Ryan

Madeline Tolle's authentic focus on fashion—but the common thread

CIRCULATION Lori Golczewski

that ties these artists together is their potential. As a submission-based contest for photographers with less than five years of professional experience, Emerging features winners who were identified by our judges as rising talents in our industry. Their individual styles and subject matter may differ, but each photographer is undoubtedly driven by something uniquely personal to them, and they've used that motivation to create a powerful body of work. These imagemakers now join photographers previously chosen for Emerging, many of whom have gone on to have propserous and renowned careers in the industry. The work presented on the following pages will also be added to the digital archive of Emerging honorees,

FALL 2018

SUBMISSION SUPPORT Brad Arshinoff, Brad Kuhns, Reiko Matsuo EMERGING PHOTOGRAPHER JURY Stacey Goldberg, Nora Molina, Libby Peterson (Features Editor, Rangefinder), Conor Risch (Senior Editor, PDN) SHOW DIRECTOR Mike Gangel (646) 668-3717 ACCOUNT EXECUTIVES Dennis Tyhacz (646) 668-3779 Joseph Kowalsky (646) 668-3694 Tim Payne (646) 668-3738

which you can access at pdnonline.com/emerging-photographer. —Stacey Goldberg

EMERGING PHOTOGRAPHER 100 Broadway Floor 14, New York, NY 10005

THANK YOU!

Photographers in this issue will receive a Canon PowerShot G1 X Mark III camera, a Canon PIXMA PRO-10 printer, and a $100 B&H Photo gift card.

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Photo © Maria Gabriela Leon Paez Garcia

A PUBLICATION OF

CHIEF INFORMATION OFFICER Bill Charles

Part of Mexican photographer Maria Gabriela Leon Paez Garcia's series "Dysphoria," (pg. 20) which was inspired by conversations with an old friend who had transitioned from male to female.

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P H OTO G R A P H E D B Y

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Photo © Antonio Privitera antonioprivitera.com

antonio privitera, Revisited Privitera's diptych street series "La Nostalgia" has gone on to ear n inter national recognition.

I

n the last issue of Emerging Photographer, we featured Antonio Privitera—an Italian photographer whose series “La Nostalgia” documents the beaches of Sicily in a streetstyle manner and is presented as a collection of diptychs. Privitera has since expanded the series, taking it from exclusively black-andwhite to color, and the work has gone on to earn accolades from competition and galleries around the world. Emerging Photographer: Now that La Nostalgia is complete, how do you plan to promote the work? AP: This is a tough question! Like many emerging artists and photographers, there’s a lot of time and energy that goes in to promoting my work. I’d like to see the work published as a book as I believe that, in this contemporary society, the images find their natural dignity printed on paper. “La Nostalgia” is having a successful run and honestly I am very satisfied by the response and the international reaction. Among competitions, festivals, exhibitions and publications I can say

that these pictures have been around the world. The work has won street photography awards and has been exhibited from Sydney to San Francisco, as well as in my home country. EP: What other projects have you started working on? Are you influenced by your experience photographing “La Nostalgia”? AP: My next big project is a film project called “Inner City Blues (Make Me Wanna Holler).” The title of this series is a tribute to a beloved song by Marvin Gaye. I started this work during my first trip to New York last winter. Surely “La Nostalgia” influenced me, but in this project I wanted to use my background in cinema and theater (two subjects I studied before becoming a full-time photographer). I also wanted to create a project inspired by the nocturnal atmosphere of the city. Being in NYC has been my big dream since I was a child and I hope to exhibit this series in the big apple as soon as possible! EP: What’s next for your career as a photographer?

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AP: Although I don't like using the word "career," I see myself fully immersed in constant research. It's crucial to find a balance between ambition and result. Never stop being in love with taking pictures, even if the production often includes less enjoyable moments (such as, for me, editing and reviewing). Thanks to “La Nostalgia,” I learned to be patient, and also to more deeply understand the importance of planning. Quite often we rely only on our vision, but any artist must be educated; talent is not enough in my opinion. Probably, if I had to think about an evolution, I would like to collaborate with the art industry more fully, not only as a photographer, but also as an editor and curator. —Interview by Stacey Goldberg

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— Alessio Cabras —

E U C A LY P T U S

Gear: Canon EOS 5D Mark II, 24-105mm f/4L IS USM

For photographer Alessio Cabras, “Eucalyptus” is a metaphorical title for the subject of his ongoing project about the militarization of the Italian region of Sardinia. He explains that the eucalyptus tree shares a similar cultural story to his native Sardinia as the country’s military. “The eucalyptus was imported for its reclamation properties over a swamp without considering the fact that, with its huge roots, it has a tendency to colonize the environment, obstructing the development of the local flora,” he says. “The [military] bases too were brought with the deception of big ‘wealth promises’ without the common sense of thinking for the local communities.”

Having grown up near a military airport, Cabras dove into his project while working on his master’s degree in documentary photography at Scuola Romana di Fotografia e Cinema in Rome. He based his work on personal experiences from his proximity to the base. “Armies from all [over] the world have been testing armaments in the area for more than 50 years, with strong impacts on the population and environment.” He adds that an investigation into the “Poisons of Quirra,” launched in 2001, has brought to trial eight ex-commanders of that weaponstesting range. As with many projects focused on military or government sectors, access proved to be

his biggest challenge. “Many of the areas, such as beaches, are closed all year for military training except during summer when they are opened for bathing.” While documenting this weighty subject, Cabras has infused the pictures with his own sense of artistry. He combines depictions of physical artifacts with portraiture of people affected by the militarization, hoping to raise awareness of the issue. “I do not think that, with this project, the situation will change,” Cabras confides. “However, I am hopeful because I see more people interested in the matter.” —Jack Crager


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Photos Š Alessio Cabras instagram.com/alessio_cabras_


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Alessio Cabras — “Eucalyptus"


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— Joel Jimenez —

WHEN THE DUST SETTLES

Joel Jimenez came upon the title of his ongoing photo series “When the Dust Settles” as the project evolved into a study of humanity and the landscape in his native Costa Rica. “I became interested in the idea of dust as a metaphorical representation of time and memory,” Jimenez explains. “These fine particles work as timeless traces imprinted onto a person, space or an object; dust is both ephemeral and permanent, present and absent.” His sentiments are reflected in his images, which contain few depictions of people, but rather remnants of human activity. “The human presence is established through the traces found in the landscape,” Jimenez notes, “but also in the act of observation that happens within me as the photographer, and the viewer's experience, which generates meanings and emotions. I'd like to think that the images reflect ideas related to identity, home and belongingness, expressed in places that are both private and collective.” Jimenez says Japanese haiku poetry also played a role in how he approached the work. “Haiku builds the images in a way that [the words] mean nothing beyond themselves, and at the same time express so much that it's impossible to grasp their final meaning,” he says. “The ideas reflected in the images are cultivated through an act of associative linking between the elements of the place and the subjective experience of the viewer—this shapes the concept of atmosphere.” Currently a photography student at Veritas University in San Jose, Costa Rica, Jimenez hopes to exhibit his work in photo festivals and other art venues to expand his horizons. He’s continuing to use elements from "When the Dust Settles" in his work, most notably though film and motion. “I believe that creative processes are constantly evolving, and throughout that journey, you find theories or concepts that help with new project ideas or give you a different perspective on the work that you've done.” —Jack Crager

Photo © Joel Jimenez joelrjimenez.com


— Jacob Wallwork —

TRANS-MONGOLIAN

Jacob Wallwork, who was born in Perth, Australia, had long dreamed of taking his camera, and using it to photograph people and places along the Trans-Mongolian Railway route from Beijing to St. Petersburg. But a trip of this magnitude takes significant planning; not only did Wallwork have to apply for three separate visas—to China, Mongolia and Russia—but he also had to save up money to personally fund the expedition. In the summer of 2017, with everything finally in place, he set off on a two-month expedition that covered 4,660 miles of track on ten different trains. He

returned with a portfolio of images that show a diverse world at times flush with bodies, and at other times gorgeously sparse. The rhythm of scenery changing through a train window is apparent in his photographs. Wallwork studied communications with a major in photo media at Edith Cowan University in Perth, but had not pitched his travels to any publication. Instead, he let his own instincts guide his camera. “I was just shooting as I went, and seeing what I saw, and documenting what was interesting or funny,” he says. Always, he shot with film. “It

slows me down a lot,” he explains. Rather than ask permission from his subjects, he inserted himself into scenes as unobtrusively as possible. “I found most people to be quite open to it.” Wallwork is currently living in Melbourne, working for a company that digitizes old photographs and other documents. Eventually, he would like to retrace his steps across Asia, this time in winter, with the intention of publishing a book of his photographs. —Brienne Walsh


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Photos @ Jacob Wallwork jacobwallwork.com


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Jacob Wallwork — “Trans-Mongolian"


— James Emmerman —

L I M I N A L S PA C E


Rife with nuance, James Emmerman’s photography blends both documentary and fine-art portraiture to question reality and representation—something many of his subjects are exploring themselves. His portrait series, “Liminal Space,” shot on medium-format film in his natural-light-filled Brooklyn studio, brings people he met while documenting NYC queer nightlife into the studio for a more intimate and formal portrait. “This was my first time bending the line between documentary and fine-art photography,” he says. “I believe the two overlap; they ebb and flow into one another. In this series, that line loses its shape.”

This reflects how he sees the queer experience and how “what’s ‘real/external’ interacts with what’s ‘real/internal,’ and the means by which my subjects make the two align,” he explains. Being a queer individual, he says, allows him a certain level of access to his subjects in the queer and non-binary community, like when he photographed the less commercial celebrations during the NYC Pride parade in 2014 for Slate. Since then, Emmerman’s shot for Paper, Vogue, Pitchfork, W, LOVE, VICE, Vanity Fair, Billboard, Out Magazine and Interview, among other editorial clients. His first job

James Emmer man — “Liminal Space"

out of college was in the photo department of Vanity Fair, where he had access to the archives of early photographic influences such as Herb Ritts and Irving Penn. He also notes Peter Hujar, George Platt Lynes and contemporary photographer Tim Walker as influences. In the end, he says, it’s the collaboration between him and his subject that helps to dissolve boundaries so he can get closer to the “liminal space between artistic and selfrepresentation,” and thus, authenticity. —Lindsay Comstock


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James Emmer man — “Liminal Space"

Photos ©James Emmerman jamesemmerman.com


— Ruairidh McGlynn —

EMERGING LAND

Having been trained in product design in the United Kingdom earlier in his career, Ruairidh McGlynn discovered photography a few years ago during a winter trip to climb in the highlands of Scotland. “That journey was the catalyst for my passion to create images and to explore new places,” McGlynn says. A 2014 trip to Qatar sealed McGlynn’s fascination with the natural world, and his desire to document it. After connecting with a photographer in the Qatar desert, he recalls, “we spotted some faint outlines and found the most amazing lone tree. It was one of those profound events that opens the eyes: From that moment I knew I wanted to focus on projects that examine the coexistence between mankind and the natural landscape.” While based in Scotland, McGlynn travels and documents sparsely populated locales around the globe. He intentionally captures scenes from a distance, “showing people as small in their surroundings," he explains, "perhaps communicating that the natural landscape is of a serious consequence to those that inhabit it.” He explains that the tenuousness of such scenery is what fuels his work. “Factors such as population growth, rising urbanization, increased geographic mobility and climate change are impacting the planet at an alarming rate,” he says. “I think if mankind is to live in harmony with nature there needs to be a dramatic change in culture.” McGlynn hopes his portrayal of rural Scotland will allow viewers to re-imagine it, "to see beyond the geographical limits and find common ground with the exploration of the delicate coexistence between mankind and the natural landscape.” —Jack Crager

Photo © Ruairidh McGlynn ruairidhmcglynn.com


— Maria Gabriela Leon Paez Garcia —

DY S P H O R I A

Gear: Canon EOS Rebel T4i, EF-S 24mm f/2.8 STM lens

What struck Maria Gabriela Leon Paez Garcia most in speaking with an old friend who had transitioned from male to female was how much she talked about drowning. The two had initially met in secondary school in Mexico City, where Garcia was born and raised. Garcia reached out to her to collaborate on an assignment on gender she was working on for a course at the Photography Studies College in Melbourne, Australia, where she will graduate in 2019. The old friend left Garcia close to 20 voicemails that were each roughly 20 minutes long outlining her experience

as a transgender person. Garcia took what she learned from them and created “Dysphoria,” a series of ten images that begin with a male figure and end with a female figure. In between are blueand pink-tinted images that suggest a foreign landscape to reflect her friend’s sentiments. “She mentioned feeling very uncomfortable in her body,” Garcia explains. “That’s why I created these landscapes that look kind of familiar, but are very different, and very surrealist.” The images were taken at the Melbourne Aquarium and Royal Botanical

Gardens. The vivid colors were added in postproduction. The series is laid out so that the dominant hue of the photographs gradually transforms from blue to pink—a color scheme that suggests the change from masculine to feminine. Thus far, the images have been exhibited at Queen Victoria Women’s Centre in conjunction with International Women’s Day. Garcia hopes to continue to exhibit “Dysphoria,” and other work in an exhibition context in the future. —Brienne Walsh

Photo © Maria Gabriela Leon Paez Garcia maria-leon-paez-garcia.format.com


— Kelli Pennington —

LIMINAL


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In a time just before the proliferation of selfies, Kelli Pennington picked up her camera and decided to start taking photographs of herself, her family, her partner and the world around her. It was 2003, and she had just graduated from Towson University with a major in fine-art photography. “I bought a one-way ticket and moved to Albuquerque,” she said. As a personal project, “I decided to shoot myself for a year.” She believed that the way one frames a photograph is meaningful beyond aesthetics. “What we choose to exclude or

include in the frame tells us a lot about what we choose to focus on in life.” She named the project, which is ongoing, “Liminal.” “Liminal means you’re always on the threshold to the next thing,” she says. “It’s the space of what’s to come. It’s the now.” The year ended, but Pennington continued to photograph her life using whatever kind of camera she had on hand. During that time, she received her MFA from Syracuse University and began teaching photography as an adjunct professor at a community college in Portland, Oregon. Today, there are 50 images

in the series, but it is still not finished; one day, she hopes to publish them in a book and exhibit them in large-format prints. In 2018, it’s common to take daily images of one’s own life. What’s not common is the meditative, ecstatic state captured in “Liminal”; looking at the work feels like stepping outside in a dark mood, and being reminded of how lucky you are to be alive. “I think they are this kind of distillation of the quest for the sublime in your own life,” she says. —Brienne Walsh

Photos © Kelli Pennington kellipennington.com


— Marlena Waldthausen —

MOHAMAD


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Gear: Canon 5D Mark IV, EF 24-70mm f/2.8L II USM lens

When Amsterdam-based Marlena Waldthausen first traveled to Austria to photograph Mohamad, an 8-year-old boy with cutis laxa, a rare genetic skin disorder that makes him look like an old man, she didn’t quite know what to expect. Mohamad and his family are refugees from Syria who lived in Iraq and Turkey before finding asylum in Austria. They spoke only Arabic and Kurdish. It had taken months for Waldthausen to make contact with Mohamad’s parents after seeing a viral video about him online, and even longer to gain their trust.

In the end, however, Mohamad opened up to her, adding personal meaning and depth to her photo story. Despite outward appearances, he is just an ordinary boy, Waldthausen says. “He has been through a lot and has a challenging personality, but I just stayed when he was having his moments and didn’t say anything.” She knew she had made a connection when, she says, “at some point, he asked me if I would come again.” Waldthausen has been back to visit Mohamad and his family two times since the initial shoot, each time for three to five days.

Marlena Waldthausen — “Mohamad”

Since they have grown close, Mohamad not only allows Waldthausen to shoot him during intimate moments, like doctors appointments, but also writes her love letters. Waldthausen received a scholarship to fund the project from Postcode Loterij Fonds and the work will soon be published by de Volkskrant, the Dutch daily morning newspaper where she has worked since 2017 after studying photojournalism and documentary photography at University of Applied Sciences in Hanover. — Brienne Walsh


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Photos © Marlena Waldthausen Marlena Waldthausen — “Mohamad”

marlena-waldthausen.de


— Madeline Tolle —

AGUA DULCE


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Gear: Canon EOS 100, 35mm film

Los Angeles-based photographer Madeline Tolle says she tries not to retouch her subjects if she can help it. “As a woman, I feel like there’s enough of that in the world,” she explains. Tolle, who began her career as a clothing buyer, uses a combination of fashion, portraiture and travel narrative in her imagemaking, balking at traditional notions of beauty. She’s excited by projects that hold opposing concepts: the harsh Vasquez Rocks desert landscape against a model who has “this tough-girl thing going on, but with a certain softness too,” for example.

Shot on 35mm film with a Canon EOS 100 for its “unparalleled color,” this self-produced personal shoot is a nod to femme rockers of the Sixties. Seduced by West Coast nostalgia, golden light and the idea that she doesn’t have to wait for summer to shoot outdoors, Tolle left Philadelphia for Los Angeles last year. Arriving there without a job or an apartment and only two friends, she made it work by balancing photo styling and shooting architecture and interiors for designers and magazines.

Madeline Tolle — “Agua Dulce”

Two years into her career, she’s transitioning into commercial work, hoping to combine her various interests into a unique stylistic space. Her next series centers on vintage denim. “Everyone wears denim. It’s the one piece of clothing that carries stories within it,” she says. “I have a pair of jeans that my grandfather wore that he passed down to my mom—and now I wear them. I don’t think there are other pieces of clothing like that.” —Lindsay Comstock

Photos © Madeline Tolle madelinetolle.com


— Corina Marie Howell —

POWER WOMEN OF TELEVISION


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Gear: Canon EOS 5DS R, EF 100mm f/2.8 Macro USM and EF 24-70mm f/2.8L II USM lenses

Corina Marie Howell didn’t watch many television shows or movies as a child, but that hasn’t slowed down her career in the celebrity and entertainment scene—both as a photo editor and, more recently, photographer. Howell, who grew up in the San Francisco area, moved to Los Angeles after graduating from UC Santa Barbara with a degree in art and film studies. She went on to work as an intern and photo editor in the entertainment magazine industry, contributing to publications such as Movieline’s Hollywood Life Magazine and The Hollywood Reporter (THR). After nearly seven years of photo editing, Howell transitioned to freelance

photography, landing her first few gigs with beauty brands like Bare Escentuals and NYX cosmetics. It was connections through her old colleagues, including THR’s design director Ada Guerin—who later became creative director for TheWrap—that aided her transition to celebrity portraiture. “When I saw Ada had moved over to TheWrap, I emailed her and asked her to lunch,” Howell says. That meeting led to many booked assignments, including shooting celebrity magazine covers, covering multiple film festivals and capturing a recent seven-actress shoot for TheWrap’s first Emmy issue, which was done

with an all-female crew in two days and, says Howell, held to the theme of “women supporting women.” Having worked in the industry in multiple capacities, Howell knows that the key to her current and future success will be collaboration and a push toward motion. Through partnerships with stylists, designers and other creatives—sometimes even the celebrities themselves—she says, “I’ve begun to push the envelope for what’s possible narrative-wise on these often restrictive celebrity sets.” —Stacey Goldberg

Photos © Corina Marie Howell Cor ina Marie Howell — “Power Women of Television”

corinamarie.com


Gear: Canon EOS 6D, Canon EF 35mm f/2 IS USM lens.

PORTFOLIO OF ONE Could you define your work with a single image? Photojour nalist Alex Wroblewski gives it a tr y. During 2015 and 2016, Washington D.C.-based photographer Alex Wroblewski documented the war against the self-proclaimed Islamic State (ISIS) in Iraq. It was during this time that he and his colleague, German photojournalist Sebastian Backhaus, came across the shrine of Imam Husain, one of the holiest sites for Shiite Muslims, which at the time was under threat by ISIS. In the midst of documenting a Maghrib prayer, Wroblewski captured this young boy looking up. “It’s as if what is happening around him doesn’t matter,” Wroblewski says of the child. During the time of this photo—April 7, 2015—many older Iraqi’s had grown up with war happening all around them. The country has been the center of many conflicts in recent history, including the 1980s war with its neighbor Iran and the 2003 American invasion.

“War had become a part of everyday life for many Iraqi’s,” Wroblewski says. And despite the impending threat of ISIS, this mosque proceeded to hold services. “It reminds me that, despite the war, in a way, life went on as usual.” In 2015, Wroblewski was still a journalism student at Columbia College Chicago. He had a burgeoning freelance career working part-time at the Milwaukee Journal Sentinel and has since gone on to be published in The New York Times, The Washington Post and The Wall Street Journal, among other notable publications. In 2016 he was named Student Photographer of the Year by the White House News Photographers Association. For Wroblewski, photojournalism is both a rewarding endeavor and one that serves an imperative function in society. Not only does

he appreciate the ability to tell someone else's story and to share it with audiences around the world, journalism also satisfies his propensity for curiosity. This photo specifically, he explains, “represents what I’m looking for most while telling stories. It shows a different point of view than just what’s in the headlines. I'm constantly trying to find a deeper understanding of what's happening and what drives people to believe what they believe or do what they do, whether it's covering war in Iraq, gun violence in Chicago or politics in Washington.” –Stacey Goldberg

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