CAREERS IN PHOTOGRAPHY – PANEL DISCUSSION
MAY16 • 4–6PM • MUB361
CCSF Photography Alum, Alex Ramos – Photographer & Gallery Director at Leica
Jung Fitzpatrick – Photographer, Jung Fitzpatrick Photography
Eliza Gregory – Photographer, Eliza Gregory Photography
Gene Hwang – Photographer & Photojournalist, Orange Photography
Otherness can be related to many forms of identity, including racial, sexual, gender, political, and social. We all experience issues around group membership or non-membership throughout our lives – in different places and across different time scales. In this series I am attempting to create scenes that elicit experiences of being the ‘Other’ for the viewer, using iconic Campbell’s Soup cans as a social stand-in.
On display at Gallery Obscura
April 25th – May 12th, 2018
Reception: Wednesday, April 25th, 6-8pm
a photo exhibit celebrating the color red
February 9 – March 9, 2018
2nd Friday Jingletown Closing Reception, March 9, 6 – 9 pm
Gallery Hours: Saturdays 1:00 to 5:00 and by appointment
Gallery Address: 2889 Ford Street, third floor, Oakland, CA 94601
Gray Loft Gallery is very pleased to present Seeing Red, a photography exhibit that explores and celebrates the color red. A variety of photographic techniques inspired by the color red will be on view, including mixed media, alternative process and traditional color photographic processes. Red is associated with passion and drama, with strong emotions such as love and anger, and can be stimulating, vibrant and exciting. In Chinese culture red represents luck and prosperity. Lovers of red are passionate with an enthusiasm for life – which is exemplified in this visually vibrant exhibit.
The exhibit was selected by Ann M. Jastrab, an independent curator, photography consultant, editor, and writer.
CCSF Photography Alumni:
Jeffrey Abrahams | Stephen Albair | J. Alderton | Caren Alpert | Robin Apple
Jo Babcock | Sarah Christianson | Marna G. Clarke | Sas Colby
Yoav Friedlander | Rhianna Gallagher | J.M. Golding | Lisa Toby Goodman
Jeanne Hauser | Jessica Hayes | Judi Iranyi | Kevin B. Jones | Krista Kahl
Sherry Karver | Diane Kaye | Mike Kirschner Lesley Louden | Ernie Luppi | Charlotte Niel | Eben Ostby | Troy Paiva | Tamara Porras | Pete Rosos
Jenny Sampson | Dean Santomieri | Susan Scott | Richelle Semenza
Neo Serafimidis | Styrous | Michael Teresko | JP Terlizzi George Tomberlin
Jon Wessel | Susan West | Karyn Yandow
Religion & Resistance
with photos by Ken Light
Tuesday, February 6, 2018
Graduate Theological Union-Center for Arts & Religion
2465 Le Conte Ave, Berkeley (off Euclid Avenue)
In many faith traditions, the promotion of social justice values is paramount. Activists who are inspired by the teachings of their faith often include religious references on protest signs and posters, as well as in performances. These religious allusions constitute markers to faith communities, calling all members to the cause.
Religion and Resistance considers this theme in several ways. Exhibition highlights will include photographs by Ken Light whose photographs are in themselves acts of protest, as he captures moments of transcendence and resistance centering on the 1969 Moratorium to end the Vietnam War march on Washington, D.C and work in Mississippi & California’s Central Valley. Archival protest posters, most from Berkeley’s Inkworks Press, demonstrate the power of religious imagery in graphic design. The representational nature of an enormous Archbishop Oscar Romero, created in papier-mâché and cloth by Bread & Puppet, triggers memory, while its monumental nature transfixes. To show that the use of religious references in protest movements is ongoing, Religion and Resistance presents recently used protest signs that include religious references or inspiration.
February 6 through May 2, 2018 (T, W,Th 10am-3pm or by appointment)
Center for the Arts & Religion, Doug Adams Gallery
EAT CAT FOOD
Most people do not know what it looks and feels like to be inside buildings like the abandoned barracks on Treasure Island. I hope my pictures will offer a glimpse into a world that most of us would like to ignore and maybe bring up questions about our values. I hope this will also allow people to see the beauty that still exists in the most extraordinary places and people.
On display at Gallery Obscura
Jan 30 – Feb 24, 2018
Reception: February 1st, 6-8pm
Congratulations to our Fall 2017 Barbara Stewart Scholarship Winner and honorable mentions!
Self Portrait as Theme
Winners currently on display in Gallery Obscura
Winner ($250 scholarship):
Slide show of all entries:
Ruth Landy is a strategic communication consultant with worldwide experience advocating for UNICEF and other global development organizations. She was thrilled to upgrade her photography skills in a CCSF PHOT51 Beginning Photography Summer intensive course. Below, Ruth shares some of the work she examined at the “Visa Pour L’Image,” Southern France’s premiere annual photojournalism festival which takes place every September.
Walking in their shoes
Women photojournalists break new ground
by Ruth Landy
In the Intensive Care Unit of a California hospital, a distraught mother holds vigil for her young son after his surgery for a grave head injury. The woman, Malalai Rafi, is an Afghan refugee resettled to the Sacramento area with her family. The photographer, Renée Byer, spent two years chronicling the ordeals facing Malalai and other Afghans who risked their lives to support US and coalition forces in their native country. Granted special visas because of their service, these refugees arrived full of hope, only to find danger and heartbreak in the United States, their country of adoption.
Describing her long journey to record No Safe Place, Byer shared her many challenges, including barriers to photographing at the hospital. She was allowed two frames, then ushered out.
Compassion. Sorrow. Anger. Inspiration.
A deep dive into the world of photojournalism today is truly an emotional roller coaster. The venue – Visa pour L’Image – is France’s premier annual photojournalism festival. In the Mediterranean town of Perpignan news and documentary photographers and photo agencies gather to exhibit their stories — witnesses to our turbulent world. They also grapple with the dramatic changes upending their industry: so many opportunities to share images, such an uncertain future.
Photojournalism is still a man’s world. Between 80 to 100 percent of major publications’ significant images of 2016 carried male photographers’ credits.
But this is changing. In the US, the top photo editors of National Geographic, Time, The Washington Post, The New York Times and many other American publications are now female.
What does visual storytelling through a gender lens mean in 2017? At Visa pour l’Image, three award-winning American photojournalists shared what it takes to shoot their complex and compelling subjects in the U.S. and around the world:
- Based in Caracas, Meridith Kohut is a regular contributor to The New York Times covering the collapse of Venezuela and other hard-hitting stories in the region:
“ Because I’m blonde and female, the soldiers in Caracas don’t think I’m as tough as them. Venezuela is a very machista culture but they don’t see me as a threat whereas male photojournalists might get caught up. I try to really feel the story so it comes across in my work. This is a story that is so unseen. I draw a lot of strength knowing that what I’m doing is actually making a difference.”
- Photojournalist Amy Toensing is a regular contributor to National Geographic magazine. At Visa to present her reportage on Widowhood, Toensing shared her experience covering the intimate stories of women in India, Bosnia and Uganda:
“One cool thing about being female and traveling is a certain camaraderie that happens. You don’t have to speak the same language and you can make that connection with body language. It’s such a collaboration to tell their story. What I have experienced with these women is ‘we did it, we worked together and told my story.’ That in itself has been powerful.”
- Renée Byer, a Pulitzer prize winning photographer for the Sacramento Bee, came to Visa to present No Safe Place. It’s a searing witness to the struggles of Afghan refugees resettled to California under special visas granted because of their support for the U.S. war effort in their country, and the deadly risks they faced at home.
“ Photojournalism is about telling stories. As a photojournalist, I spend a lot of time with my subjects — sometimes a year, two years. We are all more the same than we are different. We all have the same emotions, want the best for our children. Many of the Afghan refugees just want an opportunity, they don’t want a handout. I just want their story to be told, in their own words. ”
Much of Byer, Kohut and Toensing’s photojournalism embodies best practices of the profession, which they share with their male colleagues:
- A fierce commitment to a code of journalistic ethics – accuracy, context, no manipulation of images.
- Deep engagement with those they are photographing — before, during and after they put down their cameras.
- Mentorship of young photographers, especially those from disadvantaged backgrounds.
Yet their work also reveals the contours of a new visual landscape in the making: our world seen through women’s eyes, a gender lens keenly attuned to social exclusion, but also to signs of social transformation as women and girls come into their power in the 21st century.
The word photography comes from the Greek, meaning “writing with light”. As Byer, Kohut, Toensing and other women blaze new trails in their profession, their fearlessness, determination and empathy illuminates the path ahead:
Meridith Kohut, on managing feelings while photographing tough stories:
“A lot of photojournalists will block out trauma when shooting difficult subjects. When I was at the funeral of the four kids with the moms crying, I was bawling right along with them. Whenever I have strong emotions, I feel them in the moment. Maybe that’s easier for me because I’m a woman, but I try to use whatever I’m feeling not only for my mental health, but also for my work.”
Renée Byer, on what it takes to make it in photojournalism:
“There aren’t as many women in the profession, but their involvement is growing in leaps and bounds. If I were to give advice to young women aspiring to be photojournalists, it would be about the determination you need — about shooting every single day. It’s not something where you just pick up a camera and become a great photographer. You have to go the extra mile.”
Amy Toensing, on the value of educating girls in low-income countries:
“It’s important to look to the future, and that’s the essence of this. It’s about girls’ education. And these places really need to start prioritizing that.
“You give these girls something to work with, empower them and this (the social exclusion experienced by widows) won’t happen.
When you educate girls, look out – because they’re going to kick ass!”