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The Republic of Gabon: Where the Dust Settles

Dust is the enemy of the conservationist. It is powdered death, the ruinous remains of environmental havoc. For Sasha Bezzubov’s “The Republic of Dust” he traveled to the Republic of Gabon in Central Africa, investigating the region with his camera. The home to mind-bending cultural and biological diversity, Gabon is almost entirely covered in rainforest. As a densely forested area it is considered one of the world’s most precious ecosystems; all in the face of deforestation. Logging roads and tree felling have cut large swaths of bare earth, and when that earth is baked in the sun the soil turns to dust. Passing trucks send up plumes that settle on every flat surface, natural and manmade. It suffocates growing flora and coats the citizenry of the land. Sasha’s photographs show us not only the choking plants, but also dancing dust clouds, and the faces of those who must cut through

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David Ryle Gets Creative with the Truth

As the temperature heats up it’s hard to imagine cutting through the snow on a pair of skis and hurtling through the frigid air at 60 miles an hour. But that’s the life of a ski jumper who is maximizing training hours and abilities at the edges of permitted weather. When photographer David Ryle started shooting his “Ski Hopp,” a project that encapsulates his complex responses to the sport, the snow was already beginning to melt in Holmenkollen, Norway. But it stayed solid long enough to get the shots he needed. “There is a certain elegance to ski jumping, but I’m also trying to convey that it’s really scary,” David tells Wired.com. Exploiting multiple angles, David and his DP Jorge Luis Dieguez shot motion and still images thereby interacting directly with the viewing experience. David frequently found that what he captured in camera didn’t reflect the awe and amazement he

Debbie Fleming Caffery Casts Light on the South’s Shadows

Photographer Debbie Fleming Caffery was born in Louisiana and continues to photograph her home to this day. The state’s heritage represents an incredibly diverse community drawing from a history that is rich and complex. The people of Louisiana can count dozens of heritage threads, all combining into deep culture, making them the perfect subjects for Debbie’s work. “I am attracted to cultures that are organic and emotional, where I can feel and somehow share the rhythm and beat of the people, where the past is on the shoulders of the community,” said Debbie in an interview with Photo-Eye. “Southern Work” a collection of Debbie’s work from Louisiana, is currently on show, and is a stark look at life in Louisiana and the south. Black and white, gelatin silver prints are deeply in shadow giving a windowed insight to the world she grew up in. As she explains, her photographic aesthetic

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Chris Sisarich Explores Photography’s Ephemeral Nature

It’s easy to forget the impact that humans have had on our environment. The consideration of landscapes drum up ideas of vast natural scenes, but we humans have also created our own industrial and commercial landscapes. In many ways, photographer Chris Sisarich’s work displays the interaction of human vastness and the press of nature upon those fabricated worlds. But, like all things, they are temporary, and Chris begs us to remember that in his latest gallery show. In “Chris Sisarich: I Am Here,” Chris investigates the ephemeral nature of taking photographs. Pairing his images with composer Peter Hobbs’ work crystalizes the passage of time and impermanence of both disciplines. “Each photograph is a living world in itself,” says Chris. “It is a past record of one relative moment in space-time, but it also lives now, communicating and imparting feelings.” He further describes how music lives in the same way, making

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Gail Albert Halaban’s Intimate Voyeurism

Every window lets in light. The sun reflects off paneled glass, holding the world at bay. They reflect the world around them, tiny frames of the environments they inhabit. But for every window there are lives on the other side. In Gail Albert Halaban series “Out my Window” and “Vis à Vis,” the photographer explores the lives that she finds on the other side of windows. Using the windows as natural frames for human stories that seem so distant, her images are so familiar that they almost require a second look. The entire city or the press of a building’s wall acts as a compositional border for the portraits giving a context that is immediately relatable and recognizable. Gail used the phonebook as a tool to connect her with subjects, and then shot each of them through neighboring windows. This inherent distance speaks to our shared experiences, even if that

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Julia Fullerton-Batten Breaks Expectations

In many ways, the unexpected can tell us a lot about ourselves. What we want and what we expect frames our view of the world and how we see ourselves interacting with it. The breaking of those expectations creates a tension that forces reflection and recalibration. Offending expectations is an important tool any artist can use to amplify their message, and one that photographer Julia Fullerton-Batten uses to great effect. Drawing from Julia’s entire body of work from the last decade the current show “Selected Images 2004 – 2014” not only gives us a look at this photographer’s point of view, but also how her vision has changed. Employing the natural tension inherent in middle school scenes and the subversion of traditional views of beauty, among many other things, Julia’s work forces the audience to confront expectations and consider their own sphere of influence. The images on view at RandallScottProjects

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Mikael Kennedy’s 28-Day Polaroid Desert Adventure

As the world becomes increasingly digital, images are easier and easier to create. These photographs are files made from 1’s and 0’s, living in a circuit board or the cloud where they can exist forever. In the face of this new landscape of photography, the analogue becomes an ephemeral prize. When film feels like a relic of the past, with a tangible product that must be protected and maintained, it is no longer safe against the ravages of time. It becomes a more direct way to interact with our world, even if the results aren’t as clear or crisp. Mikael Kennedy’s latest book of Polaroid photography, Days in the Desert, is the result of his 28-day voyage in the Mojave Desert. Spending the entire month of February 2015 with camera and film packs in hand, Mikael traversed the sands and weeds of the Californian desert bringing back with him a

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Tim Georgeson Shows the Mystic Hidden World of Cuba

For many stateside Cuba is a land of mystery. Travel between the US and the Caribbean island was almost entirely halted for half a century facing increased tensions between the two countries; a result of political and ideological differences. For pedestrian Americans Cuba represents a sort of other nation, a whole people veiled by government isolation for alleged irreconcilable differences, with a culture that seems impossibly similar. In Tim Georgeson’s latest book of photography, Cuban Mischief, viewers are offered a unique look at the lives of the Cubans whose home is less than half a sea away. Limited financial and asset interaction with the first world means entire sections of Cuban culture are a reflection of a bygone era. Fishtailed cars and mariachi bands populate sandy streets. Fewer than a quarter of the population has access to the internet. Older white tourist women take local boys as weeklong husbands, visiting

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The Competitive World of Japanese Track Cycling

Japanese track cycling is on a whole other level. Following a competitive application process only 10% of applicants are admitted to the Japan Keirin School where they’ll start 15-hour days of training. Once they pass their graduation exams, if they do, they go on to compete in one of the most insular sports communities in the world, where they stand to earn up to $3million annually through their races. Photographer Martin Adolfsson was let into this world to capture the focus, training, and maintenance that makes these competitions work. Day to night, sunshine to rain, running stairs to sprinting cycling indoors, outdoors, and on stationary machines: the training doesn’t end. Martin’s photographs capture the hearts of these moments. Discipline, failure, frustration. A constant battle against the limitations of the rider’s machine and the pressure of headwinds. It’s a constant battle against stasis, and one that can only be won on

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Markus Altmann Catches the Uncatchable

The pursuit of greatness is at once a chase of the unique and a rejection of the pedestrian. To reach the next level, practitioners shrug off their cultural shackles and venture out into the unknown and unexplored. Land Speed Racing is the search for speed. In an attempt to reach the fastest possible speeds in automobiles, land speed racers venture out to deserts and salt flats. They leave civilization behind for alien landscapes offering unimpeded courses where they can peel away from the earth setting new records and breaking boundaries. Photographer Markus Altmann ventured out to El Mirage Dry Lake in the Mojave Desert to find out who these speed chasers are. What he found was diversity. From cars shaped like hot rods, to others that look more like Luke Skywalker’s Landspeeder, the vehicles match the drivers. All ages, races, and genders are represented in the need for speed and

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André Wagner’s Single Frame Stories

Before André Wagner picked up a camera he was a graffiti artist, prowling with cans of paint, adding color to the environments around him. In many ways, his career behind the camera is an extension of his spray days, as he’s used them to inform each other. Using long exposures to capture the movement of light through a composition, each of his photographs becomes a singular distillation of movement and energy. In execution the behaviors are the same, but where spray paint is adding color to a two dimensional surface, painting with light allows for a dynamic reveal of natural colors in a three dimensional space. Where paint covers, light uncovers, and André shows us only what he wants us to see. André has brought his technique through Spain, India, and Germany, displaying his journey as he takes it. The prolonged exposures imply and capture movement. Each beam of light

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Thomas Jackson Composes Artificial Sentience

Swarms are both beautiful and terrifying. Natural convergence means protection in numbers. Starlings fly suspended ballets, herrings turn to amorphous mercury, ants move the earth, one tiny armful of soil at a time. They attack, overwhelm, collect and abscond. They move as one, creating an imposing beast out of forgettable pieces, claiming a piece of the world that one among them could never defend alone. Photographer Thomas Jackson explores the behavior of swarms in his ongoing series “Emergent Behavior,” wherein he constructs artificial swarms from inanimate objects in natural environments. Cheese balls mount a tree, plastic bags circle a stony outcropping, glow sticks converge on a beach. The images are composed plainly, using monofilament lines to hang the objects in midair, composing the impression of sentient behavior. Thomas’ techniques have turned so organic, that most of the images are untouched by postproduction editing. Instead, at times we can see the