Stephen Dupont: A Tale of Two Slums

Photo © Stephen Dupont-All Rights Reserved

I really liked these two photographic essays of Polaroids made in the Mumbai slum Dharavi and the Senen slum of Jakarta by Stephen Dupont, an Australian photographer.

Dharavi is one of the world's largest slum and lies on prime real estate in the middle of India's financial capital, Mumbai and has a population estimated to be 1 million. Many businesses flourish in this slum, such as traditional pottery and textiles, a recycling industry, which generate an estimated $650 million turnover a year.

As for the Senen slum, it's a trackside slum in central Jakarta. It's also a center for recycling, and its inhabitants live cheek to jowl with the thundering trains.

Stephen Dupont has produced a photographs of fragile cultures and marginalized peoples, which capture the human dignity of his subjects, and do so with great intimacy and often in some of the world’s most dangerous regions. His work has earned him prestigious prizes, including a Robert Capa Gold Medal citation from the Overseas Press Club of America; a Bayeux War Correspondent’s Prize; and first places in the World Press Photo, Pictures of the Year International, the Australian Walkleys, and Leica/CCP Documentary Award.

His work has been featured in The New Yorker, Aperture, Newsweek, Time, GQ, Esquire, French and German GEO, Le Figaro, Liberation, The Sunday Times Magazine, The Independent, The Guardian, The New York Times Magazine, Stern, The Australian Financial Review Magazine, and Vanity Fair.

He has held major exhibitions in London, Paris, New York, Sydney, Canberra, Tokyo, and Shanghai, and at Perpignan’s Visa Pour L’Image, China’s Ping Yao and Holland’s Noorderlicht festivals.

POV: Have We Gone Over The Top?

Stanley Greene, in my view one of the best photojournalists in the business, just recently said “I honestly believe photography is 75 percent chance, and 25 percent skill. In accidents, we really discover the magic of photography” during the LOOK3 festival in Charlottesville.

I agree wholeheartedly. All of us will agree. We might differ as to the percentages (I'm more in the 85% in favor of serendipity camp), but the concept is right on the money. Whether in photography, photojournalism, medicine, chemistry, technology, biology, etc....accidents have led to fresh discoveries, new approaches and life changing products. No question about that.

But does this really qualify as "magic of photography"? If so, I have a lot of the same in a filing cabinet  somewhere...so I must be a magician...and I bet you are too.

There's no question the photographer involved is talented and has produced a lot of laudable work, but is this even remotely serious?!

I agree that serendipitous accidents can produce remarkable results in photography. For example, unintentional double or triple exposures often give us wonderful images...but not everything unintentional works...and ought not to be palmed off as such.

Are our aesthetic values so impaired by Instagram, Hipstamatic, etc filters that accidental so-called "half photos" are raved about? Are we expected to genuflect in agreement to the sacred cows of photography who applaud stuff like that? And imitate other influenceable photographers who inexplicably oooh and aaah about it?

I know I won't. Show me the full frames that follow these half photos, and I'll applaud if they're good.

I realize some won't agree with me. That's fine. They might be right. I may be right. I guess it's a matter of different personal perspectives...but let's keep our feet firmly planted on level ground for a change, and call a spade for what it is...a spade.

"La Farniente" Or The Art Of Doing Nothing

Photo © Tewfic El-Sawy-All Rights Reserved

I'm taking the weekend off from blogging, and enjoying the Hudson Valley. By Sunday afternoon, I'll be hankering for New York City...and I'll be back.

No, I don't drink that stuff....it's just for show.

Tahnia Roberts: Ngaben

Photo © Tahnia Roberts-All Rights Reserved

Ngaben is the cremation ritual/ceremony performed in Bali to send the deceased to the next life. The bodies of the deceased are placed in elaborate sarcophagi, and cremated following rituals and ceremonies that are full of simultaneous solemn and joyous pomp. The Balinese believe that the deceased will either reincarnate or find final rest known as moksha, and that the bodies are temporary shells, considered impure.

Tahnia Roberts' Ngaben is a collection of photographs she made during the cremation of the late A.A. Mangkling, an elderly Balinese. A word of caution is necessary since there are images of the deceased in full view. I ought to add that Ms Roberts had the permission of the family to photograph the cremation ceremony. Her description of cremation ceremonies is quite comprehensive and informative.

Tahnia Roberts is a portrait and documentary photographer, originally from New Zealand, who is currently resident in SE Asia traveling extensively to experience authentic cultural activities of the region.

I suppose I ought to mention my own Ngaben gallery, which was more rural and perhaps less elaborate than the one documented by Ms Roberts.

NYTimes online on reassessing and reaffirming Jewish Culture in Poland

This post also appears on my En Route blog for the Los Angeles Jewish Journal

Poster for a play called "Zyd, "or "Jew" by Artur Palyga, which deals with anti-Semitism. Photo (c) Ruth Ellen Gruber

By Ruth Ellen Gruber


The development of Jewish - and Jewish-themed—cultural expression and “production” in Poland and other countries is a theme that I have written about for many years, most notably in my book Virtually Jewish: Reinventing Jewish Culture in Europe (BTW—Virtually Jewish is now available as a Kindle e-book.)

I have focused in large part on the relationships between non-Jewish artists, musicians and others with Jewish culture and the way that they have used Jewish themes in their work.

But, in recent years, Jewish artists have also increasingly been exploring Jewish themes and topics, some of them as a way to explore their own identity.

In an article for the New York Times online the journalist Ginanne Brownell reports on this trend, writing about how Jewish artists are reasserting and redefining Jewish culture in Poland. Brownell interviewed me when I was in Poland last month and quotes me in the article—and she also quotes quite a few of my friends!

[A] growing number of Jewish Poles in the artistic sphere ... are exploring the dichotomy of being both Polish and Jewish in 21st-century Poland.

Writers, playwrights, filmmakers and visual artists are tackling everything from anti-Semitism and the Holocaust to coming to terms with their families’ Communist pasts and issues of identity.

“You cannot imagine Polish culture without Jewish culture,” said Pawel Passini, a Lublin-based director and playwright who last year won two awards at the Edinburgh Fringe Festival for his staging of “Turandot.” “I think most people are conscious of that, the problem is how to say it and let people deal with it.”

She goes on:

From the late 1980s — thanks to things like the Krakow Jewish Festival that will take place from June 29 until July 8 this year — Jewish culture, or what is perceived as Jewish culture, has become more popular in Poland. Ms. Gruber described this in her 2002 book “Virtually Jewish” as “familiar exotica,” where there is pseudonostalgia for Jewish culture like the theatrical shtetl world of “Fiddler on the Roof” or wailing, clarinet-infused Klezmer music.

Contemporary Jewish artists are broadening the definition of Jewish culture in Poland. Mr. Passini is a case in point, having become one of the most acclaimed young stage directors in the country. He admits that many of his works — including plays like “Nothing Human” about a young girl trying to find her roots and “Tehillim,” which used choreography based on Hebrew letters — have a focus on spirituality.

Read the full story HERE

NYTimes online on reassessing and reaffirming Jewish Culture in Poland

This post also appears on my En Route blog for the Los Angeles Jewish Journal

Poster for a play called "Zyd, "or "Jew" by Artur Palyga, which deals with anti-Semitism. Photo (c) Ruth Ellen Gruber

By Ruth Ellen Gruber


The development of Jewish - and Jewish-themed—cultural expression and “production” in Poland and other countries is a theme that I have written about for many years, most notably in my book Virtually Jewish: Reinventing Jewish Culture in Europe (BTW—Virtually Jewish is now available as a Kindle e-book.)

I have focused in large part on the relationships between non-Jewish artists, musicians and others with Jewish culture and the way that they have used Jewish themes in their work.

But, in recent years, Jewish artists have also increasingly been exploring Jewish themes and topics, some of them as a way to explore their own identity.

In an article for the New York Times online the journalist Ginanne Brownell reports on this trend, writing about how Jewish artists are reasserting and redefining Jewish culture in Poland. Brownell interviewed me when I was in Poland last month and quotes me in the article—and she also quotes quite a few of my friends!

[A] growing number of Jewish Poles in the artistic sphere ... are exploring the dichotomy of being both Polish and Jewish in 21st-century Poland.

Writers, playwrights, filmmakers and visual artists are tackling everything from anti-Semitism and the Holocaust to coming to terms with their families’ Communist pasts and issues of identity.

“You cannot imagine Polish culture without Jewish culture,” said Pawel Passini, a Lublin-based director and playwright who last year won two awards at the Edinburgh Fringe Festival for his staging of “Turandot.” “I think most people are conscious of that, the problem is how to say it and let people deal with it.”

She goes on:

From the late 1980s — thanks to things like the Krakow Jewish Festival that will take place from June 29 until July 8 this year — Jewish culture, or what is perceived as Jewish culture, has become more popular in Poland. Ms. Gruber described this in her 2002 book “Virtually Jewish” as “familiar exotica,” where there is pseudonostalgia for Jewish culture like the theatrical shtetl world of “Fiddler on the Roof” or wailing, clarinet-infused Klezmer music.

Contemporary Jewish artists are broadening the definition of Jewish culture in Poland. Mr. Passini is a case in point, having become one of the most acclaimed young stage directors in the country. He admits that many of his works — including plays like “Nothing Human” about a young girl trying to find her roots and “Tehillim,” which used choreography based on Hebrew letters — have a focus on spirituality.

Read the full story HERE

Fuji X Pro-1: Shooting From The Hip/Vivid vs B&W

Photo © Tewfic El-Sawy-All Rights Reserved

Photo © Tewfic El-Sawy-All Rights Reserved

With this month's credit card statement settled, I can now claim complete ownership of my Fujifilm X Pro-1 and the Fujinon 18mm lens that I bought last month, so feel I've earned the right to update my impressions having used it in the streets of New York as frequently as I could.

Let me start by saying that looks can be deceiving. Operating the Fujifilm X Pro-1's various options can be quite complex, and took longer than I expected, especially as I have the unfortunate habit of not reading manuals, preferring to learn on the fly.

Much has been written (and continues to be written) on the X Pro-1's performance, strong and weak points, quirks (some infuriating and others not so much) and superlative image quality...so I won't repeat them here, apart from saying this:

1. As I do much of my street photography in the streets of NYC by shooting from the hip, I rely on the X Pro-1's auto focus. Its auto focus is not infallible, but even my Canon 5D Mark II and 7D are not, so that's an issue I can easily live with. The main gripe I have with the X Pro-1 is that it occasionally goes to sleep, and it takes a few jabs at its shutter to wake it up. By that time of course, the subject of my attention has walked on by, or the moment I wanted to capture passed.

And to me, that's the main negative of the X Pro-1 insofar as shooting from the hip is concerned.

2. I tried a couple of color film settings, and I'm occasionally disappointed in the rendition of the Velvia (or vivid) setting. The color photograph above was made using the Vivid film simulation setting, and I just don't like it. While the whole scene is more or less fine, the color of the man's jeans (as an example) is unnatural, and seems too over-saturated.

3. The battery life of the X Pro-1 sucks. As I mentioned in previous posts, I manage to get about 300 images on one charge (that includes a bit of chimping). On the other hand, it recharges quite rapidly. So on my shopping list, is another battery. For an all day kind of shooting, 2 batteries (and perhaps 3) are the minimum.

That all said, I am quite satisfied with the performance of the X Pro-1 and I anticipate getting more comfortable with it during the next few weeks, and also expect that Fuji will come up with further firmware updates.

I added a monochrome version (processed via LR) which I much prefer to the color one. I suspect that if I claimed that it came from the new Leica MM, no one would guess otherwise.

Finally, for a website that aggregates all there is to know about the Fuji X Pro-1, drop by Thomas Menk's Scoop.it | Fuji X Pro 1 blog.