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Thom Atkinson’s ‘Inventories of War’

In Tim O’Brien’s, ‘The Things They Carried,’ we learned about the baggage soldiers lugged around with them through the Vietnam War. That baggage included weaponry, apparel, remembrances from home, the memories of their lives behind them, and the pain of being away. Every object is a shadow of their owner, and each has a purpose or a story. In his series, ‘Inventories of War,’ Thom Atkinson lays out those stories using soldiers’ kits used from 1066 to 2014. What is spread in his images are the packs that soldiers have carried for almost a millennium. Scrolling through them together is like taking steps through time. Swords become rifles. Leather vests become armored. Checkers kits become iPads. It’s everything a man who is being sent to wage war would need to maintain their bodies, their safety, and their sanity. Taken separately, each image is an inventory of potential history and priorities.

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A Photo Tour of Maine with Gabriela Herman

Gabriela Herman’s latest photo essay, A Photo Tour of North Country, for Condé Nast Traveler is a real time reminiscence of a time gone by. Gabriela went up to Maine to explore Summer in the wilderness of forest, mountains, and New England lakeside beaches. What she found were grassy sand dunes and a lobster jubilee. Looking like an Adult Summer Camp Utopia, the Maine in front of Gabriela’s lens is a carefree playground for refined sensibilities. Bathed in stillness and calm, quiet moments are peppered by casual seafood banquets and hidden bike paths. The sun reaches across a grassy beach, splayed across picnic tables, and tightly made beds. It’s like everything is waiting for you, set out for the evening’s activities, but only after a run in with a victorious lobster (who has an unenviable future). Lobsters lined up like boats, and boats sunning lazy like lobsters. It all piles

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Diana Scheunemann Demands you LOVE LIFE

Freedom comes in many forms. With liberation comes the ability to love life. Diana Scheunemann’s campaign for LOVE LIFE, called “No Regrets,” is about seizing the complexities of personal freedom. By taking responsibility for one’s actions and their future, the pall of uncertainty is cleared away leaving unadulterated pleasure. The campaign is centered on safer sex and using condoms appropriately in sexual situations. Like any empowered discussion of sex, the LOVE LIFE campaign isn’t about shame, but about responsible choices. By using condoms appropriately and intelligently, users are free from the burden of risk, and the fear of uncertainty. It engenders exploration and self-respect through managed safety. The demand is to live without regrets, like the regrets that come through not using condoms: the exposure to disease and the anxiety of not knowing. LOVE LIFE doesn’t focus on the fear surrounding these issues, but rather the joy that comes with

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Nature’s Intimacy Displayed in Paul Wakefield’s “The Landscape”

Paul Wakefield has been photographing the landscapes that appear in his latest book, ‘The Landscape,’ since 1989. The book represents a collection after 22 years of traveling the world, catching the stages that humans conduct their lives on and largely go unnoticed. The word “landscape” literally describes land that has been formed, shaped. Like a sculpture carved from the largest blank on the most epic scale. Each of Paul’s images shows the hand of god that constructed the earth and stone into awe-inspiring designs, governed by gentle chaos. The negative space plays just as large a part as the sand and water, making way for the viewer to experience vast scale and alien places. Lucky for Paul, he gets to experience these places first hand. “I just love being in the landscape,” Paul says. “I think I love that more than I love taking photographs of it.” He doesn’t use

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James Morgan Dives Deep to Capture The Bajau Laut

The Bajau Laut of “the Coral Triangle” are one of the last nomadic seafaring communities left on the planet, and they are increasingly unable to sustain their way of life. They live on the surface of the most biodiverse marine ecosystem in the world. The 1.6 billion acres of ocean that makes the habitat for countless fish, turtles, and other marine life is being pillaged. Photojournalist James Morgan has tasked himself with documenting these people, and the implosion of their living culture. The Bajau Laut are pulling themselves into pieces to maintain this way on life. In some cases, quite literally. Ibu Hanisa, a Bajau Laut, lost all the fingers on her right hand, her entire left hand, and sight in one eye from a homemade fertilizer bomb. As the environment becomes less stable, it can support fewer fish. The Bajau Laut must fish more aggressively, using bombs and cyanide

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Tevor Hart’s nakedly honest series, ‘Bare’

The female form has captivated artists for millennia. Man picks up a pen and turns his attention to the object of his affection. The challenge the human form poses is to communicate a person, with their history and hopes, into an image. Using nothing but the shape and lines of their body, the imperfections and inconsistencies, the natural movements of life present who they are in totality. Trevor Hart took on the challenge when he started working on his personal project, “Bare.” Starting with a few life models he met through colleagues, the work he created inspired others to get involved. Soon enough friends, family members, and strangers were asking to be the subjects of his expanding project. Over the years it has blossomed into a scope so large it will soon fill a book and its own exhibition in October. Our naked bodies give private exposure to those looking,

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Julia Fullerton-Batten: First Woman to Shoot Campari’s Calendar

The classic Campari cocktail, the Negroni, is shaken not stirred. Appropriate for Bond girl, Eva Green, who will be sipping the iconic cocktail in Capari’s upcoming 2015 Calendar. Campari has been producing calendars for 15 years now, featuring actresses like Selma Hyeck and Uma Thurman, but this is the first time in their history that they’ve used a female photographer. So many of the calendars from past years have celebrated the female form, so it’s only natural Campari would tap Julia Fullerton-Batten to take the reigns. This year’s calendar is called “Mythology Mixology,” visually blending the history of some of Campari’s most famous cocktails with the stories behind the drinks. Julia Fullerton-Batten talks about the creative test the theme offered, saying, “This year’s theme was an interesting challenge, as there was an important job to do in terms of taking historical anecdotes and invigorating them with a modern edge.” But

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Gregg Segal Finds 7 days of Trash Can Be a Treasure

Our possessions speak volumes about who we are and how we want to be perceived. The things we acquire all combine into the statement of “This is who I am.” And everything we throw out reflects a rejection of that which has attached itself to us. The action of refuse distills into, “This is not who I am.” Every article of trash that we collect and abandon is inexorably connected to us, as it reflects an experience and a series of choices that have helped define who we are and what we want. Gregg Segal is working to highlight these connections in his ongoing series “7 Days of Garbage.” In the series Gregg has participants retain the trash they create for a week and photographs them surrounded by their refuse. The images are a stark reminder of our leavings. They remind us that what we leave behind doesn’t vanish, it

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Chris Jelley Finds the Order in Kitchen Chaos

Traditionally the word “brigade” describes a group of thousands of military infantrymen engaged in the theater of war. It represents a powerful force, used as a major piece in tactical decisions in heart of conflict. Each and every member of this brigade will take and follow their orders faithfully, responding simply with a, “Yes, sir.” The focus and militant precision involved in a professional kitchen has necessitated the adoption of the word “brigade” to describe the sous-chefs and cooks supporting the service. Each member of the team shows fealty to their captain with the words, “Yes, chef.” Photographer Chris Jelley adopted that phrase, shouted from grills and mumbled into cutting boards throughout the world, for the name of his book, ‘Yes Chef London‘. Over six visits to Granger & Co. in Notting Hill, London, Chris witnessed and then photographed meal service in their seemingly hectic kitchen. Initially what he saw

Mark Dorf’s latest landscape series, ‘Emergence’

Mark Dorf’s time at the Rocky Mountain Biological Laboratory in Colorado was spent examining environments and landscapes in a way that was entirely new to him. When he wasn’t shooting the landscapes and natural environments surrounding RMBL, he worked with scientists, exploring the relationship between science and art. “Each day I would spend time in the landscape,” Dorf explains his daily work. “Sometimes on my own, but most times with the resident scientists observing and helping with their field work.” What he found is that both scientists and artists use their work to understand the worlds they live in a little better. On their own, both groups forge out and research and experiment to get closer to smaller truths that combine to a larger picture to achieve a richer comprehension with complete context. His work at RMBL, “really caused me to look at and examine the landscape with a different

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Hiroshi Watanabe’s, ‘The Day the Dam Collapses’

Life is a series of mundane, pedestrian moments, tent poled by five or six days of note. A life is measured in missed trains, squeezing another bit of toothpaste from the tube, rushing across the street in front of a stopped car. Most of life will be forgotten, but Hiroshi Watanabe doesn’t want you to forget. In his latest show, “The Day the Dam Collapses,” he harnesses the heartbreaking inevitability that permeates disaster movies. The quiet moments that the audience relishes in, aware of the impending doom, while the characters scarcely notice. They don’t know they’re about to lose everything. In a way, Watanabe is warning us. Asking us to stop, to look, to love. Because, for all of us, a Dam is going to Collapse and wash us away. Our lives will end, we are all in our own disaster movie. But like those characters, we’ll never know until

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Andrew McGibbon’s ‘Slitherstition’

As photographer Andrew McGibbon reminds us, human beings have always had a fascination with snakes. From the first book of the Bible, through contemporary SyFy films, a mixture of wonder and revulsion has created a magic pull we can’t look away from. They’ve always represented an attractive evil, an unpredictable woefully trustable figure. A curiosity that betrays. In his series, “Slitherstition,” Andrew presents to us that which we would recoil from, delivering to us our fear on a jeweled platter. Placing a huge variety of snakes on brightly covered backgrounds he’s highlighted the tension between wonder and disgust. What we see are plump, cold bodies like overstuffed leather cushions, shiny and twinkling like wet candies. Sharp forked tongues and pebbled backs, relax into asymmetrical constellations; living ropes of wrath. Andrew used a mixture of venomous and constricting snakes, all of them predators gilded and glossed in a pageant parade of